Beethoven-Edition-Liner Notes PDF

BEETHOVEN EDITION Liner notes and sung texts

INDEX
Liner notes
I. LUDWIG VAN BEETHOVEN 2
II. OPUS NUMBERS 20
III. SYMPHONIES 20
IV. PIANO CONCERTOS 24
V. VIOLIN MUSIC 27
VI. TRIPLE CONCERTO 28
VII. CHAMBER MUSIC FOR WIND INSTRUMENTS 28
VIII. SEPTET IN E FLAT 29
IX. PIANO TRIOS 29
X. SONATAS FOR VIOLIN AND FOR CELLO 30
XI. SONATAS FOR PIANO AND VIOLIN 30
XII. STRING TRIOS 36
XIII. STRING QUARTETS 38
XIV. PIANO SONATAS 41
XV. MUSIC FOR SOLO PIANO 44
XVI. WORKS FOR THE STAGE 45
XVII. CHORAL MUSIC 47
XVIII. SONGS 49

Sung texts
CD5. SYMPHONY NO. 9 51

VOCAL MUSIC:
CD62. LEONORE 52
CD64. FIDELIO 63
CD66. EGMONT 74
CD68. THE RUINS OF ATHENS ∙ KING STEPHAN ∙ GERMANIA 74
CHOR AUF DIE VERBÜNDETEN FÜRSTEN ‘IHR WEISEN GRÜNDER’
CD69. ARIAS 75
CD70. CANTATAS: ON THE DEATH OF JOSEPH II ∙ ON THE ACCESSION OF LEOPOLD II 76
CD71. DER GLORREICHE AUGENBLICK ∙ POLYPHONIC ITALIAN SONGS WOO99 77
CD72. MISCELLANEOUS VOCAL WORKS 79
CD73. CHRISTUS AM ÖLBERGE 81
CD74. MASS IN C 83
CD75. MISSA SOLEMNIS 83
CD76. SONGS I 84
CD77. SONGS II 86
CD78. SONGS III 88
CD79. SONGS IV 90
CD80. CANONS, EPIGRAMS AND JOKES ∙ IRISH SONGS WOO 152 & 153 93
CD81. IRISH SONGS WOO 152 & 153 CONTINUED 98
CD82. 12 IRISH SONGS WOO154 101
CD83. 26 WELSH SONGS WOO155 104
CD84. 12 SCOTTISH SONGS WOO156 ∙ 12 VERSCHIEDENE VOLKSLIEDER WOO157 107
CD85. 25 SCOTTISH SONGS OP.108 ∙ 23 LIEDER VERSCHIEDENER VÖLKER WOO158A SELECTION 111
CD86. FOLK SONGS WOO158 117
94630 Beethoven Edition
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Beethoven Edition liner notes effect on her son in whose private writings, words such
as “suffering” “resignation”and ”endurance “constantly
I. LUDWIG VAN BEETHOVEN (1770‐1827) recur.
The actual day on which Beethoven was born cannot be
established with absolute certainly. His baptismal By the age of seven Beethoven had given several private
certificate is dated 17th December 1770 and since it was performances at court and was ready to make his public
then the custom to christen a child within twenty four debut. In the late afternoon of March 26th 1778 he
hours of birth it is very likely that he had been born the performed “various concertos and trios” at a concert in
previous day. However Beethoven himself was never Cologne in the company of the seventeen year old
entirely sure of his exact age and believed himself to be Helene Averdonck to whom Johann taught singing. The
at least a year younger than he actually was.When, in advertisements for this concert deduct a year from
later life, he acquired a copy of his baptismal certificate Beethoven’s age (which may have been the origin of all
he amended the date to 1772, convinced that the the subsequent confusion on this subject) and if this was
Ludwig van Beethoven who had been born in 1770 was deliberate on Johann’s part he was following the
the older brother whose name he shared but who had example of Leopold Mozart who had also reduced
died in infancy before his own birth. Therefore Wolfgang’s age for the public arena. The Cologne
Beethoven’s own references to his age should be treated concert was Ludwig’s only recorded public performance
with some caution. His father, Johann, was a musician as a child, which seems to confirm that Johann was not
and singer at the court of the Elector of Cologne in Bonn seriously interested in actively promoting his son as a
where his grandfather, also called Ludwig had been child prodigy.
Kapellmeister since 1761, having come to Bonn from
Malines in what is now Belgium in 1733. Beethoven By the time Beethoven was nine, he had outstripped his
always claimed to remember his grandfather with great father’s capacity to teach him and after studying for
fondness (a circumstance in itself enough to contradict a short periods with other local musicians, he began
plausible birth date of 1772 as the elder Ludwig died at lessons in piano and basic composition techniques with
the end of 1773) and displayed his portrait in each of the the Court Organist, Christian Gottlob Neefe. He also
many residences he occupied throughout his life. It was ceased all formal schooling at this time which was not
perhaps inevitable that when the young Ludwig showed uncommon for boys of his age and class and so was not
early signs of musical talent he should be groomed for the result of any desire on the part of his father to
family business. He received his early training from his deprive him of educational advantages for the sake of
father who is often depicted as a harsh teacher, bent on the promoting his musical training. Neefe was a cultured
fashioning his son into another Mozart whose prodigious and enlightened man and Beethoven’s association with
talent had been displayed to the admiring courts of him may have helped fill the void in his education. He as
Europe only a few years previously. Johann’s attempt to also a devotee of J. S. Bach, then an almost forgotten
be appointed Kapellmeister in succession to his father figure in Germany and introduced Beethoven to the still
had been unsuccessful and although he may have unpublished Forty Eight Preludes and Fugues which he
projected his thwarted ambitions onto his talented child, owned in manuscript copy. Neefe was undoubtedly the
there is little real evidence that Johann’s regime formative influence in Beethoven’s musical life, which
although undoubtedly strict, amounted to sustained and Beethoven later acknowledged when he wrote to him:
deliberate cruelty. The memories of friends and “Should I ever become a great man, you too will have a
neighbours, recorded long after the events they share of my success”. This promise was not however
describe, which recall a lonely and tearful child forced to fulfilled in any tangible form before Neefe’s death in
practise for hours on end and beaten for his 1798.
mistakes,may well relate to certain isolated incidents of
Beethoven’s childhood but should not be used to Beethoven showed no early signs of a desire to compose
construct a picture of his systematic abuse. It is true that (unlike Mozart who had been writing keyboard works
Beethoven did not remember his father with any great from the age of six and symphonies from eight) although
show of affection, yet all his life he kept Johann’s he had always loved to extemporise at the keyboard and
manuscript copy of a piece by C.P.E. Bach which he had was often scolded by his father for improvising when he
inscribed “written by my dear father”, indicating that he should have been practising. In 1782 with Neefe’s
cannot have wished to erase his memory entirely. If his encouragement and perhaps assistance he wrote his first
relationship with his father was ambivalent, there is no known work – a series of piano variations on a march by
doubt that he had a much closer bond with his mother Dressler (WoO63) in the prophetic key of C minor ‐
of whom he wrote just after her death: “She was such a which Neefe arranged to have published. The following
kind and lovable mother to me,my best friend.”Maria year Neefe submitted an essay to a musical periodical in
Magdalena van Beethoven was a quiet and pious woman which he extolled the musical talent of his young pupil
(according to contemporary accounts she was never and speculated that he might become a second Mozart if
seen to laugh which does not mean that she never in given the right support. This hint did not however bear
fact did so) and Beethoven’s continual striving towards a fruit for some time to come.More compositions followed
good and virtuous existence was her legacy to him. The the Dressler variations into print including a set of three
earnest sentiment attributed to her: “Without suffering piano sonatas with an elaborate dedication to the
there is no struggle, without struggle no victory and Elector by the young composer:
without victory no crown” certainly had a profound
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“……I have now reached my eleventh year [he was granted him leave of absence and probably subsidised
actually twelve but by now the missing year seems to the journey. Possibly it was Maximilian who arranged an
have become an established fact] and since then in hours introduction to Mozart for whom he had great
of sacred inspiration my Muse has often whispered to admiration (Mozart had hopes at one time for the post
me; Make the attempt, just put down on paper the of Kapellmeister in Bonn, an appointment which, had it
harmonies of your soul ! Eleven years – I thought‐ and taken place, would have changed the course of musical
how could I look like a composer? And what would history). Unfortunately there are no reliable records of
experienced adults in the art say to this? I was almost what happened when the two musicians met in Vienna
too shy. But my Muse insisted – I obeyed – and in April 1787. Tradition has it that Mozart was impressed
composed.” by Beethoven’s skill at improvisation and is said to have
remarked: “Keep your eyes on him; one day he will give
These were obviously not the unmediated sentiments of the world something to talk about”. However before
a twelve year old yet, even if filtered through an adult Beethoven had any chance to establish himself as
sensibility, they contain the artistic credo Beethoven was Mozart’s pupil either in composition or more likely for
to follow for the rest of his life. He always obeyed the keyboard tuition, he received a summons from his father
dictates of his Muse and composed what he felt he had to return home immediately as his mother was seriously
to rather than what was expected or indeed on occasion ill. Magdalena van Beethoven was suffering from
required of him. consumption (which must surely have been apparent
before Beethoven’s departure) and she in fact survived
In late 1783 he travelled to Holland with his mother, the for a few months after his return so it is not clear why his
only occasion he is known to have left Bonn during his journey took place when it did or why his immediate
childhood. The main object of the journey was to visit recall was necessary.
relatives but he also gave a number of well‐received
private performances in Rotterdam and at the Royal The next few years cannot have been easy for him. His
Court in the Hague and on his return to Bonn, he infant sister died a few months after her mother in
followed his father and grandfather into the family November 1787, the family was short of money and
business of court musician. In 1784, the new Elector, Johann’s alcoholism was growing steadily worse.
Maximilian Franz, brother of the emperor Joseph II, Eventually at Beethoven’s request, his father was
instigated a comprehensive review of the court finances forcibly retired and half his stipend paid to his son so
and resources including its musical establishment. This that he could ensure adequate provision for his two
brought about a further decline in Johann van younger brothers. His later paternalistic and often
Beethoven’s fortunes. He had for some time been overbearing attitude towards them no doubt stems from
drinking heavily (a tendency he may have inherited from the years when he was in effect the head of the
his mother, Maria Josepha, who had died in 1775 in the household. In addition to his other musical duties he
seclusion of a convent where her alcoholism would pass took up a position as viola player in the court theatre
unnoticed) and his voice was deemed to have become orchestra and over the next few years performed in
“very stale”. His son however was appointed Neefe’s Mozart’s Die Entführung, aus dem Serail, Il Nozze di
assistant as Court Organist. He had already been Figaro and Don Giovanni as well as operas by Gluck,
deputising for Neefe on an unofficial basis both in the Salieri, Paisiello and Cimarosa. The number of his own
chapel and at rehearsals in the court theatre but now he compositions perhaps not surprisingly diminished during
was formally enrolled as a liveried court servant with a this period. His personal life was however transformed
salary of 150 florins a year (which for a period had to be when he was introduced into the household of Helene
paid out of Neefe’s own wage) representing a significant van Breuning, widow of a courtier, as music teacher to
addition to the household income. This appointment her younger children. He was soon established as a
coincides with the writing of his first known orchestral friend of the family and the von Breuning house became
work, a piano concerto, but although this was probably his second home and Helene a surrogate mother to him.
performed at court, composition was a private pursuit He spent many hours and days in its happy, relaxed and
and did not form part of his official duties, which were cultured atmosphere and the friends from his years in
confined to routine and practical music making in the Bonn ‐ Stephan van Breuning, Franz Wegeler, Nikolas
court chapel and the theatre. On one occasion however Simrock ‐ remained close to him all his life (despite his
he enlivened a session at the chapel organ by best efforts to quarrel with them on a regular basis).
improvising such complex harmonies that the singer
whom he was supposed to be accompanying was unable The death of the emperor Joseph II in February 1790
to find his way back to the right cadence. This trick provided Beethoven with his first chance to show his
apparently amused the Elector but Beethoven was talents as a composer in a large scale work. The Bonn
warned not to try it again. Lesegesellschaft (Literary Society) commissioned him to
compose a cantata on verses written for the occasion by
By 1787 Beethoven got the opportunity to widen his a young poet Severin Anton Averdonck (who happened
musical horizons. The exact purpose of his first trip to to be the brother of the girl with whom Beethoven had
Vienna, like much else in Beethoven’s early years, in performed at his public debut 12 years previously). The
unclear so we have no notion as to whose idea it was, choice of Beethoven in preference to more experienced
how long the his visit was to have lasted and whether he composers in Bonn, Neefe for one, shows the extent to
went alone or in company. Maximilian Franz must have which his potential must have been recognised from his
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youthful works. The scheduled date for the performance Bonn and that he was able to hold his own at the
was 19th March 1790, less than a month after he keyboard in distinguished company. He was also already
received the commission but for unspecified reasons it displaying the reluctance to perform on demand which
had to be cancelled at short notice. Possibly the work was to become progressively marked as he grew older.
Beethoven produced ‐ the Cantata on the Death of Playing in public was not a problem for him, at least until
Emperor Joseph II (WoO87) ‐ was too difficult for the his deafness took hold, and as a professional musician he
available forces to perform successfully or perhaps he obviously performed when required. He would also
simply did not finish it on time. If so, this was not the last entertain in private when he chose to do so and when he
occasion on which he was to fail to produce what was was in control of the situation. However he reacted
required in the time and for the resources available. strongly against any assumption that he would provide
Whatever the reason for the cancellation it does not entertainment as a matter of course, an attitude most
seem to have had an adverse effect on his reputation as clearly shown by an incident some years later when he
later that year he was again commissioned by the was staying with Prince Lichnowsky, one of most
Lesegesellschaft to write another cantata, this time prominent supporters, at his castle in Graz. One evening
celebrating the accession of Leopold II. Once again there Lichnowsky asked him to play for his guests and in the
was no performance and the Leopold Cantata, like its face of Beethoven’s repeated refusals, persisted in his
predecessor was never played in public in Beethoven’s request beyond the breaking point of Beethoven’s fragile
lifetime. tolerance. Beethoven stormed from the castle and
returned immediately to Vienna, three days journey
It must be assumed that Beethoven was not considered away, where his anger had not sufficiently cooled to
responsible for the failure of either work to receive a prevent him from smashing a bust of Lichnowsky that he
performance and if he was, that this did not count kept in his house. He is supposed to have told
seriously against him since in the following year he was Lichnowsky after this incident: “Prince, you are what you
commissioned by Count Waldstein to provide music for a are by accident of birth. I am what I am through myself.
ballet he had devised for the carnival season. Waldstein, There have been and will be thousands of princes, there
a rich and cultured nobleman had arrived in Bonn in will only be one Beethoven”.
1788 and became the first in a long line of aristocratic
patrons who supported Beethoven throughout his life. By the time he was twenty‐one, Beethoven had been a
He was also a leading member of the Lesegesellschaft salaried court servant for seven years and was an
and may therefore have been influential in the cantata established and admired figure in Bonn musical circles.
commissions and for dealing with any repercussions of He had composed and published a number of small scale
their non‐performance. This time there were no works for voice, piano and chamber forces but apart
difficulties in either the performability or the punctual from the two cantatas, which for unknown reasons had
delivery of the music for Waldstein’s Ritterballet (Knight not been performed and Waldstein’s Ritterballet, he had
Ballet). For many years it was thought that Waldstein written no major works and his position in the musical
had composed the music himself as there was no establishment of the court was not conducive to their
indication on the score of Beethoven’s authorship. It was production. He was a growing fish in a modest pool and
not unknown for the person commissioning a work to had he not managed to escape it, he may simply have
pass himself off as its composer ‐ Mozart was at that adapted himself to and been restricted by his
very moment working on a Requiem for Count Walsegg‐ surroundings. However a meeting with Haydn who
Stuppach on that basis ‐ and Beethoven must have been passed through Bonn in June 1792 on his return journey
happy enough with the arrangement (although it is hard from England was to prove a turning point in
to imagine him taking such a relaxed attitude in later Beethoven’s life. They may actually have met the
years – possibly he felt some debt of gratitude to previous year on Haydn’s outward journey as Haydn is
Waldstein over the cantata affair). reported as having spent an evening in the company of
the Bonn musicians, but if so there is no evidence that
In 1791 Beethoven and the rest of the court orchestra he took note of Beethoven as an individual of promise.
accompanied Maximilian Franz on a journey up the On this occasion however he had an opportunity to
Rhine to Mergentheim to attend meeting of the Teutonic examine some of Beethoven’s compositions, including
Order (of which Maximilian was the Grand Master) and one of the cantatas, and saw in him a talent worth
during this trip he and some of the other musicians took developing. On Haydn’s recommendation, the Elector
the opportunity to visit Johann Sterkel, one of once again agreed to grant Beethoven leave of absence
Germany’s foremost pianists. Sterkel played for the to travel to Vienna where, in the famous words written
assembled company and invited Beethoven to follow by Waldstein in Beethoven’s farewell album, he would
suit which at first he declined to do. Sterkel astutely receive “Mozart’s spirit from Haydn’s hands”. No doubt
overcame his reluctance by commenting that the intention was that having studied composition with
Beethoven’s recently published Righini Variations were Haydn, former Kapellmeister to Prince Esterházy,
so difficult that perhaps even their composer might find Beethoven would return to Bonn and become
them hard to perform. Naturally Beethoven rose to this Kapellmeister himself in due course. He set out on 2nd
challenge, played the work from memory and then went November 1792, just as the French invasion of the
on to improvise new variations in the style in which he Rhineland was causing great uncertainty in the region.
had just heard Sterkel play. This incident shows that his According to his own account, he only just managed to
reputation as a composer had by now spread outside pass through the lines of the mobilising Hessian army
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and had he delayed his departure by even a few days he subsidise his meagre income. Beethoven, like most

would probably never have made it to Vienna. As it was composers, occasionally reused material and some of
he was never to return to his homeland. the works from his early years in Vienna are based on
music he had composed in Bonn. However extensive
Imperial Vienna was a very different place from sketches for some of the pieces in question survive and
provincial Bonn whose liberal atmosphere, fostered by the fact that they are written on Viennese paper proves
the enlightened Maximilian Franz, contrasted with more that, if not wholly composed in Vienna, they were are at
oppressive environment of censorship and political least extensively revised and rewritten there. It is
surveillance prevalent in the Austrian capital. It was a possible that Maximilian simply failed to examine the
place where one could be locked up for airing one’s works carefully or delegated the task to an advisor not
opinions too loudly as Beethoven remarked in letter to well disposed to Beethoven who tried to make trouble
his friend Simrock, and so presumably he kept his liberal for him (there may have been a few people at court who
views to himself. In later life he became quite outspoken resented the success of the high flyer currently enjoying
but although Metternich’s secret police kept a file on a period of leave in Vienna). It is very probable that one
him, he was too famous and had too many influential of the disputed compositions was the recently published
friends to be troubled by the authorities (the only time Variations in F major on “Se vuol ballare” from Mozart’s
he was ever arrested was when he was mistaken for a Figaro which Beethoven had indeed begun sketching in
tramp). His most pressing problem on arrival in Vienna Bonn and may have played there in an earlier version.
was money, which was to be a source of concern all his Since sets of variations on any theme, however different
life. The cost of living there was a great deal higher than from each other, all have to start out from the same
in Bonn and a gentleman in Beethoven’s position point – the original theme –it is easy to imagine a
required between 700 and 800 florins a year (the cursory examination of the piece leading to the wrong
equivalent of 170 gold ducats) to survive in comfort but conclusion. Whatever the explanation of these curious
not luxury. Shortly after his arrival Beethoven made a list circumstances Haydn certainly did not react as if he had
of his requirements which included along with such been deceived and when he departed on his second trip
necessities as furniture, wood and coffee ‐ an overcoat, to England, he arranged for Johann Georg
boots and shoes as well the services of a wig maker and Albrechtsburger to take over Beethoven’s tuition.
dancing master. He may have felt himself rather
provincial, writing to Eleonore von Breuning that he was While the Elector had no objection to Beethoven
unable to wear the waistcoat she had given him as it was continuing his studies with Albrechtsburger in Haydn’s
too unfashionable. However all he had to live on was his absence, he decided to cut off his salary until such time
court salary of 50 florins per quarter, supplemented by as he should be recalled to Bonn (a summons which
an additional 50 florins still paid to him from his father’s never came as Maximilian Franz was expelled by the
stipend, but this he ran the risk of losing when Johann French later that year). Beethoven was therefore
died only a few weeks after his arrival. His personal liberated from the role played by his father and
feelings on the death of his father are unrecorded and grandfather as a salaried court functionary but he now
he saw no need to return home (but he did successfully had to find a way of supporting himself or of finding
petition the Elector to continue receiving the additional someone to support him. He would have arrived in
funds). Johann seems to have died unlamented save for Vienna with introductions from Waldstein and other
the Elector’s rueful comment that revenu from excise members of the Bonn nobility to the great houses of the
duties would henceforth be reduced. city and sometime in 1794 he came into the orbit of
Prince Lichnowsky, a wealthy aristocrat and music lover.
The relationship between Beethoven and Haydn has Lichnowsky had known Mozart, from whom he had
often been characterised as prickly and unrewarding on taken piano lessons and had accompanied on one of his
both sides, with Haydn lax in his supervision of European tours (although their relationship at the end of
Beethoven’s studies and his pupil secretly taking Mozart’s life was complicated by a legal dispute whose
instruction from others behind his back. Beethoven may origins remain clouded in mystery). He maintained a
have commented later that he learned nothing from private string quartet and held regular musical
Haydn but not everything he said should be taken at face gatherings in his palace, which was one of the focal
value and they probably enjoyed a normal pupil/teacher points of musical activity in Vienna. Beethoven took
relationship complete with the friction that occasionally lodgings in the same building as the Lichnowsky
arises when youth rubs against experience. At the end of household but although the resources of the
1793 Haydn sent copies of five of Beethoven’s new establishment were put at his disposal, he preferred to
compositions back to Bonn as evidence of his pupil’s maintain his independence. All his life, in fact, he kept
progress but the response was discouraging. Maximilian his distance from the noble patrons who supported him
claimed that the works he had received were familiar financially. He was happy for them to nurture his art but
and suggested that, since Beethoven was obviously not always made it clear that he did not consider himself to
developing as hoped and no doubt accumulating debts be personally indebted to them.
in Vienna, he should return home to resume his duties
immediately. This episode is usually taken as further His association with Lichnowsky and the other
evidence of Beethoven’s lack of respect for and gratitude aristocratic music lovers of Vienna was vital to the
to Haydn who had not only requested an increase in advancement of his career as most musical activity in
Beethoven’s salary but had given him money to Vienna took place in the salons of its great houses. There
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was very little opportunity for public performance and were accordingly demoted). The three Piano Trios now
no suitable concert venues other than in a few buildings established as Op.1 were initially published on a
controlled by the court which were only rarely made subscription basis under which Beethoven paid for the
available for public concerts. It was therefore in the engraving of the plates and purchased each printed copy
salons of the rich that Beethoven established his from the publisher for one florin before selling them to
reputation as one of the best keyboard players of his day the subscriber at the advertised price of four ducats.
with an extraordinary talent for extemporization (which Beethoven therefore ran some financial risk if sales were
he had developed from a young age). There was fierce low as the engraving costs of two hundred and twelve
competition between rival virtuosi who were florins were substantial. However he need not have
occasionally pitted against each other in “keyboard worried. Lichnowsky alone ordered twenty copies and
duels”. Beethoven is known to have taken part in such the final list of subscribers contained the cream of
entertainments but on one occasion he became involved Viennese society including Prince Esterházy, Prince
in a less than good‐natured confrontation with another Lobkowitz, Count Rasumovksy and Baron von Swieten.
musician Daniel Steibelt. Steibelt decided to perform in Two hundred and forty five copies were sold and once
Beethoven’s presence a set of obviously prepared his costs were deducted Beethoven made a net profit of
“improvisations” on a theme Beethoven had used in his over 700 florins, enough to cover his living costs for a
clarinet trio. The theme was not in fact Beethoven’s own year. Other works began to appear in print: the three
and Steibelt’s choice of it as a subject for improvisation piano Sonatas Op.2 (dedicated to Haydn), the String Trio
implied that he could improve in his treatment of it. Op.3 and the String Quintet Op.4 (which was a thorough
When Steibelt had finished playing, Beethoven strode to reworking of the Wind Octet he had sent to Bonn a few
the piano, picking up on the way one of the parts of years previously) as well as a large number of songs
Steibelt’s quintet which had been performed earlier that mainly of a romantic nature and piano variations (one of
evening. Placing it upside down on the music rack, he which, on a theme from Paisiello’s opera La molinara
proceeded to weave a brilliant series of variations and (WoO70) was reputedly written overnight for a lady who
improvisations on it, which had the effect of exposing had mislaid her copy of another set on the same theme
the poverty of Steibelt’s inspiration to the growing by a different composer). The year ended on a high note
delight of the audience and humiliation of Steibelt. He with a prestigious commission to supply the music for
left the room before Beethoven was finished and made the annual ball of the Gesellschaft der bildenden
it known that he never wished to meet him again or Kunstler (the Artists Ball) which in previous years had
indeed be in the same house as him. been provided by Haydn, Kozeluch and Dittersdorf – a
sign that Beethoven was now considered part of the
Beethoven made his public debut in Vienna on 29th Viennese musical establishment.
March 1795 in a charity concert at which he performed
one of his own piano concertos. There is some doubt as The increasing number of commissions made his
to whether this was the recently composed First Piano financial position more secure. He received a fee from
concerto in C major (Op.15) or the Second Concerto in B the commissioner (who would usually specify the type of
flat (Op.19) written some time previously but the subject piece required and the instruments for which it was to
of constant revision (it was published after its successor be written but leave what was composed up to
and so has a higher number than it). As the concerto was Beethoven’s discretion). The commissioner had exclusive
advertised as “entirely new” it was probably the C major use of the music for a limited period (normally six
work but whichever work he played, Beethoven finished months) after which Beethoven was free to offer it for
writing out the orchestral parts of the final movement publication. There was a stringent condition that the
only two days before the performance, a last minute music should not be given to anyone else during the
completion which was to become typical of Beethoven’s period of exclusivity since in the absence of copyright
practice. He performed twice more in the next few days protection, mere possession of a copy permitted anyone
including a Mozart concerto at a benefit concert to perform or publish it without payment to the
organised by Mozart’s widow Constanze. Concerts in composer. Beethoven later spent much time and effort
Vienna tended to be concentrated in short periods in ensuring that his works received simultaneous
around Easter and Christmas when opera performances publication in different markets to prevent piracy. This
were banned and the theatres became available as arrangement suited both sides – the commissioner
concert venues. Competition for the small number of possessed the autograph score and the kudos of
concert dates was intense and Beethoven even at the controlling first access to the new piece and Beethoven
height of his fame had difficulty in obtaining them. had a double source of income from a single
composition. Occasionally the dedication of a work
Beethoven had deliberately published almost nothing in attracted an additional fee but more often it was
his first two years in Vienna wishing first to establish his intended as a mark of gratitude for past favour or
reputation. In 1795, a few months after his public bestowed in the hope of some future benefit. The Opus
exposure on the concert platform he issued the first 1 trios were dedicated to Lichnowsky who had helped
works to which he gave an opus number (signifying that Beethoven establish himself in Vienna and who had
these were pieces that he wished to be considered as effectively underwritten their publication by his large
major compositions. The “Figaro” Variations which he order. Beethoven could also hope for his continued
had rushed into print rather against his better patronage some years later Lichnowsky settled an
judgement as his Op.1 soon after his arrival in Vienna, annual sum of 600 florins upon him. Some dedications
6

took a long time bearing fruit: that of the Op.30 Sonatas by posterity as the creator of a number of highly
of 1802, to Tsar Alexander finally brought its tangible accomplished chamber pieces, the equal of those by
reward in 1814 when he meet Beethoven during the Haydn and Mozart, two piano concertos very much in
Congress of Vienna. Others fell on stony ground: the their style but promising more and some works for piano
dedication of the English edition of “Wellington’s Sieg” including a small number of sonatas of great originality.
(Op.91) to the Prince Regent elicited no display of royal He had produced little orchestral music and no
largesse despite Beethoven dropping several heavy hints symphonies – the field in which Mozart had been and
in that direction about his expectations. The dedication Haydn was still pre‐eminent. He had already completed
of the Op.2 sonatas to Haydn is unusual as it was one of extensive sketches for the first three movements of a C
the only two occasions when he honoured another major symphony but was unable to find a satisfactory
composer in this way – the other was Salieri probably in conclusion for it. He had not as far as is known been
thanks for the advice he gave Beethoven on vocal writing commissioned to write a symphony at this time so this
techniques. This gesture was partly born out of affection work would have been purely speculative and without
for his old teacher, although Beethoven pointedly did the guarantee or at least the firm expectation of getting
not refer to Haydn as such. Sentiment aside, Beethoven it performed (and then published) he may have been
also probably realised that honouring the popular Haydn reluctant to invest too much time on it (for a composer
in this way would do his career no harm at little cost. His derived from commissioned and published work, time
first teacher Neefe whom he had once promised a share was effectively money). However sometime in 1799 he
in his success but who in distant Bonn could do nothing both found a way of completing the work to his
to advance him, never received any such recognition. satisfaction and was given an opportunity to perform it
during the short Spring concert season of 1800. Which
Early in 1796 Beethoven undertook a concert tour of came first ‐ the solution of the finale problem or the
Prague, Dresden Leipzig and Berlin accompanied by concert date ‐ is not known; however the previous year
Lichnowsky for part of the way. This was precisely the Beethoven had dedicated his Op.14 Sonatas to the wife
route Mozart had travelled (also in Lichnowsky’s of Baron Peter von Braun who, as court theatre director,
company) seven years earlier and Beethoven must have controlled access to the main concert venues. So by
felt that he was now following in Mozart’s footsteps in 1799 he may already have suspected or even been
more than just the literal sense. He enjoyed enormous informed by the grateful Baron that his request for a
success especially in Prague, the city which had revered concert the following season would meet with success,
Mozart and at the court of Frederick William II in Berlin which provided the necessary spur to his creativity. The
where he composed and performed two cello sonatas. concert at which Beethoven offered his first symphony
These were dedicated to the King, himself a keen cellist, to the Viennese public took place in the Burgtheater on
although Beethoven was accompanied on that occasion 2nd April 1800 and included, in addition to one of his
by the court cellist Jean Louis Duport. Frederick piano concertos and the Wind Septet (Op.20), a Mozart
rewarded Beethoven with the gift of a gold snuff box symphony and an aria and duet from Haydn’s recently
which in a gratifyingly lucrative pun on his name he had performed Creation (he had still not written enough
filled with louis d’or (Beethoven often styled himself orchestral works to mount a programme entirely of his
Louis van Beethoven). Later in the year he visited own music). Although apparently marred by some sloppy
Pressburg (now Bratislava) and Pest (Budapest) where orchestral playing, the concert was favourably reviewed
he promoted a piano built by his friend Johann Streicher, as the “most interesting for a long time”.
which had been specially sent there for him to play.
During this period the fortepiano, which had overtaken At the same time as he was coming to grips with the
the harpsichord as the main medium for keyboard symphony, Beethoven addressed another musical form
performance was still undergoing development and which he had long fought shy – the string quartet. This
modification to extend its range and alter its tone and had more or less been invented by Haydn in whose
throughout his life Beethoven was presented with hands it had developed as the pre‐eminent medium for
pianos by various manufacturers who hoped to benefit the expression of complex musical ideas by small forces.
from his association with them. Although 1796 seems to He had plenty of opportunity to immerse himself in the
have been a good year for him, an enigmatic diary entry quartet medium. Lichnowsky held regular parties for
suggests Beethoven was not complacent or at ease with performances by his private quartet and Beethoven
himself: “Courage. Even with all the frailties of my body, attended similar weekly musical gatherings at the house
my spirit shall dominate. Twenty five years have come: of the composer Emmanuel Forster. In 1795 he had been
this year must decide the mature man. Nothing must asked by Count Apponyi to write a quartet for him but
remain” (the actual date of this entry is uncertain but, nothing materialised. However in 1798 he had felt ready
given Beethoven’s habitual subtraction of a year from his to rise to the challenge and began work on a set of six
age, December 1796 seems plausible). The reference to quartets which were given their premiere at
physical frailty may be an oblique reference to a serious Lichnowsky’s palace in 1800. They were published the
problem of which he was just becoming aware. following year as Op.18 with a dedication to Prince
Lobkowitz (from whom he received 400 florins). By 1801,
The following year Beethoven suffered a serious illness, in his thirtieth year, Beethoven had every reason to be
possibly typhus, and had he succumbed to it, he would satisfied with his achievement. He was firmly established
have been remembered by his contemporaries as a in Viennese society and was in demand as performer,
virtuoso keyboard player and promising composer and composer and teacher; he had now written “everything
7

except church music and opera”; he had more the eye of the beholder but Beethoven although
commissions than he could handle and could sell the eccentric, had not yet begun to display the unusual if not
publishing rights for the works he produced five times antisocial behaviour that distinguished him in his later
over and without tedious negotiations over money: “I years. In 1801 he certainly contemplated marriage with
demand, they pay”‐ is how he described his relations Countess Guilietta Guicciardi, who was in his words: “a
with his publishers at the time. The steady income from charming fascinating girl who loves me and whom I love”
these sources had been augmented in 1800 by an and was one of his piano pupils to whom he dedicated
annuity of 600 florins from Prince Lichnowsky which the Sonata Op.27 No.2 (the so called “Moonlight”). She
guaranteed his financial security. However his prospects was fourteen years his junior but the main barrier to
for future happiness were clouded in two respects. He their marriage was her rank and she eventually married
was still unmarried – but that situation he could at least a man of her age and class. Much later in life, Beethoven
try to change. More seriously – and seemingly beyond hinted that, after Guilietta’s marriage, she had made
his control – he was going deaf. some kind of advance to him which he repulsed showing
that however strong his attraction to a woman he drew
Beethoven’s quest for emotional fulfilment is fertile back from adultery. His next serious emotional
ground for speculation as to the reasons behind his involvement was Josephine Brunsvik (who was
apparent inability to choose as a potential partner Guilietta’s cousin) whom he had known since 1799 when
someone who was capable of filling that role. In his he gave her piano lessons which he apparently
youth he enjoyed the usual complement of adolescent prolonged for hours beyond their normal length. He
flirtations and during the Rhine journey with the Bonn dedicated a set of piano variations of his setting of
orchestra, his companions persuaded a serving girl to Goethe’s simple love poem “Ich Denke dein” (I think of
make advances to him which he rebuffed rather you) to Josephine and her sister Therese, but no doubt it
brusquely (but this could have been either through was Josephine he had in mind. However, before any
shyness or because of his dislike of not being in control serious relationship could develop between them she
of the situation). A serious rift had occurred between became betrothed to Count Deym and left Vienna soon
Beethoven and Eleonore von Breuning very shortly after her marriage. In 1804 (by now a widow) she
before his departure for Vienna, which seems to have reappeared in his life and for a time it seemed that he
been Beethoven’s fault as he described his behaviour to might have found a woman with whom he could enjoy a
her as despicable and opposed to his true character. The relationship of mutual love. Beethoven’s letters to her
cause is unknown but it is possible that he made a display a passionate intensity and Josephine, although
misjudged attempt to transform their longstanding and she was disconcerted by the ardent expression of his
easy intimacy and friendship into something deeper. He feelings towards her, was deeply attached to him. He
retained enormous affection for Eleonore who married seems to have asked her to marry him but after much
his friend Franz Wegeler, and in a letter to him written a agonising she declined, possibly because by marrying a
few months before his death Beethoven referred to the commoner, as Beethoven was, she ran the risk under
fact that he still had her silhouette portrait in his Austrian law of losing the guardianship of her children
possession. Wegeler who studied medicine in Vienna (her short marriage to Deym had produced four). They
from 1794 to 1796 and had a chance to observe remained close for several more years but gradually
Beethoven during his early years in city reports that he drifted apart and Josephine was eventually remarried to
was continually involved in love affairs which “could another aristocrat, with unhappy consequences for her
have been very difficult indeed if not impossible for (her second husband not only abandoned her but also
many an Adonis”. Beethoven was not conventionally removed the children that their union had produced). At
good looking but one can imagine him exerting a the height of his involvement with Josephine, Beethoven
saturnine attraction over the female members of his was working on his opera Fidelio which centres on the
audiences. He certainly wrote a number of his most unswerving love and loyalty of a wife for her husband
charming love songs during this period but whether they and while it is generally dangerous to read
were composed with particular persons in mind remains autobiographical details into Beethoven’s music, it is
a mystery and there is no evidence that any of these love difficult not to see this work as a conduit into which he
affairs ever amounted to anything and very little is channelled his hopes and desires. In 1810 he seemed to
known about Beethoven’s sex life. His later views on be on the brink of matrimony once more, this time with
adultery make it unlikely that he would have lightly Therese Malfatti to whom he had been introduced by his
indulged in extra marital liaisons. If he were to achieve a friend Baron Ignaz von Gleichenstein. He had written to
long lasting emotional (as well as sexual) union it would Gleichenstein actively seeking his help in finding a wife
have to be through marriage. In a letter of 1794 to his and although the tone of the letter is humorous there is
older friend Nikolaus Simrock in Bonn, he asked: “are no doubt that he was serious in the request for
your daughters grown up yet? Educate one of them to assistance. Beethoven seems to have lacked the
be my bride”, a joke perhaps, but showing the subject of confidence to make a direct approach himself which may
matrimony was in his mind. He may have proposed explain why he kept falling in love with his pupils to
marriage in 1795 to the singer Magdalena Willman, whom he had a ready‐made introduction and easy social
whom he had known in Bonn (the evidence for a access. Unfortunately they tended to be just the kind of
proposal is however unreliable) but if he did, she women, young and aristocratic, who by reason of age
rejected him (according to the same unreliable evidence) and class were inaccessible to him. Although Therese
because he was “ugly and half crazy”. Beauty may be in was much younger than him – she was eighteen, he was
8

thirty‐nine – this time there was no social gulf between friends Franz Wegeler and Karl Amenda. Neither were

them. Beethoven must have thought there was a serious resident in Vienna at the time which may have
likelihood of success as he arranged to get a copy of his encouraged him to divulge details of his condition to
baptismal certificate which was necessary to complete them without fear of it becoming generally known there
the formalities of marriage (it was on this occasion that (although he still took care to enjoin strict secrecy on
he reduced his age by two years possibly to appear more both). He had apparently first become aware that there
youthful in the eyes of his prospective bride). He even was a problem with his hearing sometime in 1796. The
took steps to improve his notoriously slovenly cause was and remains unknown. Modern conjectures
appearance. Although he wrote to his friend Zmeskall in are otosclerosis (a growth of bone in the middle ear),
terms which suggest he was totally in her thrall his only Paget’s disease (a bone deformation which can lead to
surviving letter to her in which he addresses her as deafness if sited in the skull) and labyrinthitis (a viral or
“admirable Therese” is rather restrained and his praise bacterial infection which attacks the inner ear).
of her piano playing and recommendations of good Beethoven’s medical advisors seemed to think that his
books for her to read, hardly imply a deep passion. hearing loss was in some way connected with the
However, he was desolated when Gleichenstein broke chronic bowel problems from which he suffered and all
the news to him that she (or more probably her parents) his life. Beethoven subjected himself to a succession of
had rejected him (which must have been made all the baths, courses of mineral waters and patent medicines in
more galling by the fact that Gleichenstein his go‐ the hope that alleviating the one problem might cure the
between in the affair, became engaged to her sister). other. In his letter to Wegeler, who was himself a doctor,
This romance did however produce one of his most he gave a full description of his condition: tinnitus (a
famous compositions ‐ Für Elise – the manuscript copy of constant whistling and roaring sound in the ears), an
which remained in Therese’s possession until her death inability to hear high pitched tones or notes (unless close
in 1851 and was only published in 1867. to their source) or low sounds (people speaking softly)
combined with an intolerance to sudden loud noises ‐”I
Beethoven’s most famous emotional attachment was to cannot bear to be yelled at”. His greatest fear was not
the woman known as the Immortal Beloved to whom he that his condition might prevent him from playing or
drafted a long and passionate letter, undated but now composing – in fact he says it affected him least in these
firmly established as written in July 1812. Several activities ‐ but the social isolation that deafness imposes.
candidates for this mysterious woman have been put He was also concerned that those he termed his enemies
forward: Josephine, her sister Therese, Amelie Sebald (a ‐ and his humiliation of Steibelt suggests he may have
singer to whom other letters survive from this period) made a few on his rise to the top ‐ would be only too
and Countess Marie Erdödy with whom he had lived in happy to exploit the knowledge of his condition to
1809 but in apparently platonic circumstances. However, undermine his credibility as a musician and composer
it seems most probable that the woman in question was upon which his income depended. In 1801 he retained
Antonie Brentano with whom Beethoven had become some hope that the deterioration of his hearing might be
acquainted in 1809 when she was in Vienna with her reversed or at least arrested. A year later, with all such
husband and child. Beethoven and Antonie became hope gone, he suffered an emotional crisis which led him
close over the next few years and she was in the right to the brink of suicide.
place at the right time to be the recipient of the letter
(assuming it was ever sent and that the document which Beethoven spent the summer of 1802 in the village of
Beethoven kept among his papers until his death was a Heiligenstadt, a few miles outside Vienna where his
copy or draft of an actual missive). He addressed the doctor hoped the peace and quiet might afford some
woman to whom he is writing with the intimate “du” respite for his damaged hearing. Beethoven loved the
which he had never employed in letters to any other countryside and regularly retreated to it during the
women, even Josephine, and his passionate desire to be summer months. However on this occasion the tranquil
with her is evident. There was however an impediment rural surroundings did not bring him peace of mind and
to a union (“Can you do anything to alter the fact that at some point during that summer he confronted the
you are not completely mine and I not completely reality of his situation. All the pent up despair and
yours”) that only she could remove (“make it possible frustration of the past few years found its outlet in an
that I can live with you”) suggesting that she was a extraordinary document which has become known as
married woman. Like virtually all the other women in the Heiligenstadt Testament. This was addressed to his
Beethoven’s life, the Immortal Beloved, whoever she two brothers Carl and Johann and its primary purpose
may have been, was therefore unattainable and his seems to have been as his last will and testament.
apparent predisposition to fall in love with women with Perhaps fortunately it never actually had to be used for
whom he was unlikely to form a permanent relationship that purpose as its terms were very imprecise and
may represent a subconscious desire to avoid the reality Beethoven left a blank space wherever Johann’s name
of any actual involvement with his ideal woman. should appear. Its opening sentence ‐ “O you men who
believe or declare that I am malevolent, stubborn or
Exactly when Beethoven realised that he was losing what misanthropic, how greatly you wrong me”‐ shows that it
he called “the finest part of me, my hearing” is not was intended for a wider audience and that its real
known for certain, as he concealed the fact for many purpose was to reveal to the world the personal
years even from his closest friends. However in the suffering that was behind his apparently antisocial
summer of 1801 he shared his concern in letters to his behaviour over the past few years. Whether he seriously
9

contemplated suicide, as he hints, can never be known often on the long country walks that seemed particularly
but he survived this spiritual crisis through his desire to conducive to inspiration. Much of the time composition
continue composing and an acceptance that his took place in his head and there are several descriptions
condition was the will of God to which he had to of Beethoven humming and singing to himself (often
surrender. The sentiment attributed to his mother: rather tunelessly so that listeners tended to describe it in
“without suffering there is no struggle, without struggle terms of howling and groaning) as the musical ideas took
no victory and without victory no crown” finds a strong form and substance. This internalisation of the process
echo in the language of the Heiligenstadt Testament. of composition and his often remarked ‐upon ability to
The document however does contain some puzzling comprehend at a glance‐ the workings of a score
inconsistencies. At times Beethoven speaks as if from suggests that Beethoven did not have to hear a piece of
beyond the grave to those who he feels have misjudged music to know exactly what it sounded like and there is
him: “O man when one day you read these words, reflect no evidence that had his hearing remained perfect
that you did me wrong”; at others, he seems to be throughout his life, he would have written a note
seeking their understanding for his behaviour as if still differently.
alive: “Therefore you must forgive me if you see me
draw back when I would gladly mingle with you”. At one His return from Heiligenstadt marks the beginning of
moment he wishes death to come swiftly, the next for it what is commonly referred to as his “middle period” in
to be delayed until he has had the chance to exercise his which his music takes on a new direction and in which he
creative powers to the full. While we can never know embarks on works of a much grander and more ”heroic“
what Beethoven in his confusion and anguish really scale than before. The conventional division of
wished to achieve in writing this document (which he Beethoven works into three periods began soon after his
preserved long after his deafness had become common death and although convenient as a means gaining an
knowledge and which was discovered after his death) it overview of his musical development, it is possibly more
seems to have served the function of a therapeutic accurate to see is as falling into four or even five distinct
“working out” of his situation through which, having periods: the juvenilia of the Bonn years (among which
confronted his despair and contemplated the the Joseph Cantata stands out as astonishingly mature);
consequences of giving in to it, he was finally able to the works from his first ten years in Vienna mainly
accept the inevitable. That he successfully achieved written for chamber forces or solo piano but ending with
some form of catharsis through this process is indicated the Second Symphony completed just before his
by the fact that only a few days after his return from departure to Heiligenstadt in 1802; the ten year period
Heiligenstadt he was writing enthusiastically and to 1812 which sees the composition of the great
confidently to a publisher about his new works. symphonies and concerti, the Rasumovksy quartets, the
Waldstein and Appassionata Piano Sonatas, and Fidelio;
Beethoven’s deafness certainly affected him socially and a period of relative inactivity from 1812 to 1818 in which
contributed to the volatile and irascible side of his his creative powers lay more or less dormant before
nature. The isolating effects of deafness probably had bursting out once again with the massively constructed
the effect of curtailing his career as a touring performer, masterpieces of the “late period”– the Hammerklavier
making the task of coping with unfamiliar people and Sonata, the Ninth Symphony, the Diabelli Variations, the
situations even more difficult and he undertook no Missa Solemnis and the late quartets. That Beethoven
major concert tours after 1798. In time, he had to give himself felt that his music was taking a significantly new
up playing in public altogether at least in ensemble direction after 1802 is shown by a remark to his pupil
pieces where he had to synchronise his performance Czerny around this time: “I am not very well satisfied
with other players but he continued to conduct for many with the work I have thus far done. From this day on I
years although his direction became increasingly erratic. will take a new way. ”His decision to embark on a more
Louis Spohr’s description of Beethoven conducting his ambitious compositional programme is confirmed by a
Seventh Symphony in 1813 describes his bending lower letter written by his brother Carl, now in Vienna and
and lower to indicate when he wished the music played acting as his business manage to a publisher seeking new
more softly and jumping up at the entry of a forte compositions from Beethoven, in which he remarks
passage, occasionally shouting out to reinforce it. rather grandly that his brother “did not trouble himself
However, although deafness certainly had a negative much with such trifles [sonatas] any longer but now
effect on his practical musicianship, it does not seem to composes only oratorios and operas”.
have affected his composing and at the time of its onset
he explicitly dismissed it as a source of concern to him. Beethoven began work on his only oratorio, Christus am
He had always made preparatory sketches for his works Ölberge (Christ on the Mount of Olives) in the autumn of
and worked out ideas by means of improvisation at the 1802 and unusually, it was not the result of a
keyboard which he continued to do long after his ability commission. The choice of subject matter – Christ’s
to hear what he was playing was severely compromised. moment of doubt in the Garden of Gethsemane prior to
his betrayal and arrest ‐ was Beethoven’s own and he
From 1798 he began to use bound sketch books for the seems to have seen in Christ’s anguished despair and
meticulous and often lengthy working and reworking of final acceptance of his fate a reflection of his own recent
work in progress. These were later supplemented by spiritual crisis. The text was commissioned from a minor
small notebooks which he always carried in his pockets poet Franz Xavier Huber and the parallels between its
to note down musical ideas as they occurred to him, language and sentiments and those of the Heiligenstadt
10

Testament suggest that Beethoven also had considerable declaring it to be unplayable, never performed the

input. It was completed just in time for performance at a sonata which now bears his name.
concert which took place in April 1803 at the Theater an
der Wien, one of the few independent places of Beethoven spent the summer of 1803 working on a
entertainment in Vienna, where earlier that year grand symphony in E flat which he had begun to sketch
Beethoven had been appointed composer‐in‐residence the previous year while attempting to make progress on
by the impresario Emanuel Schikaneder with whom an opera for Schikaneder. The libretto “Vestas Feuer “
Mozart had collaborated on The Magic Flute. As (Vesta’s Flame) did not inspire him and by end of the
Beethoven had failed to get a concert venue through the year he had abandoned it altogether. Early in 1804,
official channels, he took the opportunity of having the however, he finally found an opera subject that fired his
theatre at his disposal to mount a concert of his own imagination ‐ “Leonore ou l’Amour conjugal” by Jean
works: the oratorio, the First and Second Symphonies Nicholas Bouilly. The story was supposedly based on a
and the Third Piano Concerto with himself taking the true incident that had taken place in Tours during the
solo part. He asked Ignaz Seyfried, also on the music Revolution, in which Bouilly claimed to have played a
staff of the theatre, to turn the pages for him which part. The story of a victim of despotism whose life is
proved a nerve‐ racking experience for Seyfried as these saved through the constancy and bravery of his faithful
were almost empty apart from a few “Egyptian wife appealed to Beethoven on several levels. It was a
hieroglyphs” that served as reminders to Beethoven. morally edifying story (Beethoven thought opera should
“Every so often”, Seyfried recalled, “Beethoven would have a serious purpose and considered the plots of
give me a secret glance whenever he was at the end of Mozart’s to be trivial) and it exemplified notions of
one of the invisible passages” to indicate when to turn idealised married love and the triumph of liberty over
the page. Beethoven who could probably have played tyranny that were close to his heart. The French text was
the piece very well from memory, was greatly amused translated and adapted by Joseph Sonnleithner and as
by Seyfried’s obvious anxiety and this is probably an with his oratorio, Beethoven seems to have had some
example of his heavy‐handed sense of humour. The input into the libretto. However, Schikaneder’s dismissal
concert was a huge success at least financially and following the purchase of the theatre by Count von
Beethoven’s share of the takings was a massive 1.800 Braun meant that there was now no guarantee of a
florins. performance under the new management. Beethoven,
as so often under these circumstances lost his creative
The following month he composed at very short notice a drive and progress on the work was suspended. The
sonata for the virtuoso violinist George Bridgetower who termination of his own contract meant that he was also
was visiting Vienna from London where he played in the forced to move from the theatre premises, where he and
orchestra of the Prince Regent. As usual, Beethoven cut his brother had been lodging, and he moved in with his
things extremely fine and by the morning of the concert childhood friend Stephan von Breuning. They soon
(which took place at 8.00 pm) the violin part for the quarrelled over a trivial matter and Beethoven stormed
second movement had not been copied out so out of house. He left Vienna for Baden from where he
Bridgetower had to sight read it from the piano part over wrote long letters to his friends justifying his own and
Beethoven’s shoulder. During the performance and criticising von Breuning’s behaviour. In due course he
without warning, Bridgetower departed from what had wrote a contrite letter of apology to von Breuning
been written by repeating on the violin a passage excusing his behaviour and showing genuine remorse
Beethoven had just played. Fortunately Beethoven and shame for his actions. This cycle of
approved of this manoeuvre and shouted out “Noch misunderstanding, argument, recrimination and
einmal, mein lieber Bursch!” ‐ Play it again my dear boy” reconciliation was a familiar pattern in Beethoven’s
‐ holding the appropriate chord to allow Bridgetower to relationships with his longsuffering friends. His volatile
do so. Beethoven was delighted with the performance temperament, with bouts of deep, occasionally almost
and dedicated the work to Bridgetower, writing on the suicidal depression, has given rise to speculation that he
title page: Sonata Mulaticca Composta per il mulatto suffered from a personality disorder possibly of a manic
Brischdauer [sic] gran pazzo e compositore mulaticco depressive nature. Certainly throughout his life, his
(Mulatto sonata composed for the Mullato Bridgetower, private writings show him constantly veering between
great fool and mulatto composer). Bridgetower’s father the poles of elation and defiance in the face of all that
was West Indian probably from Barbados and had met life could throw at him ‐ “I will seize Fate by the throat”‐
his Polish mother while he was in the service of Prince and abject misery and self‐abnegation ‐ “O God, God
Esterházy. Modern sensibilities have been spared the look down upon this unhappy B, do not let it go on much
dilemma of having to use this title as not long afterwards longer in this way”.
Beethoven and Bridgetower quarrelled. The reason is
unknown, as is frequently the case in the disputes in His capacity for sudden and violent reactions when
which Beethoven was involved, but may have arisen events or circumstances ran contrary to his beliefs and
from a remark Bridgetower had made about a woman of desires is highlighted by the well‐known incident of his
Beethoven’s acquaintance to which he took exception. removal of Napoleon name from the Third Symphony.
Beethoven immediately removed Bridgetower’s name Beethoven had long admired Napoleon as an example of
for the title page and replaced it with that of the French the heroic individual rising from obscurity to greatness
violinist and composer, Rodolphe Kreutzer. Kreutzer, although this admiration was not uncritical and he had
however, received the honour with indifference and, reservations at Napoleons’ concordat with the Pope in
11

1801. His intention had been to associate his new revised version with a new overture opened in the spring
symphony with Napoleon (he may even have of the following year but with even less success than
contemplated dedicating it to him) and he had written before. Beethoven blamed what he saw as shortcomings
“Buonaparte” at the top of the title page of the in the performances on musicians and singers ‐
autograph score. However, according to his friend remarking that he would rather give up composing than
Ferdinand Ries (whose recollections are usually reliable), hear his works performed like that‐ and he also became
when he learned that Napoleon had proclaimed himself involved in a furious row with the management whom
Emperor, he tore out the page and trampled on it, he believed was cheating him out of his share of the
shouting “so now he will also trample human rights receipts. After only two performances Beethoven
underfoot and only pander to his own ambition; he will himself withdrew the score and the opera closed.
place himself above everyone else and become a
tyrant”. This manuscript is no longer extant but the The next few years saw a succession of major works. He
copyist’s score survives which also shows similar signs of resumed work on a fourth piano concerto which he had
Beethoven’s wrath. The inscription on its title page reads begun sketching in 1804 and completed commissions
“Sinfonia grande intitolata Bonparte del Sigr Louis van from Count Rasumovksy, Russian ambassador in Vienna,
Beethoven, ”but the word “Bonaparte” has been so for a set of three string quartets and from Count
violently deleted that there is a hole in the paper. Oppersdorf for a symphony, his fourth, for which he was
However beneath the deletion, Beethoven has at some paid 500 florins (a large amount but only a fraction of
point added ‐ “written on Bonaparte”, showing a later what he had received for the Eroica which shows the
desire to restore the original association. His anger true extent of Lobkowitz’s generosity). At the end of the
against Napoleon seems subsequently to have abated. In year he composed a violin concerto for a concert by
1809 he intimated to Baron de Trémont that were he Franz Clement, orchestra leader at the Theater an der
ever to visit Paris, he would not be averse to meeting Wien, at whose benefit concert the previous year the
Napoleon and in 1824, he is reported as commenting: Eroica had received its first public performance. At the
“once I disliked him, now I think differently”. The head of the autograph score Beethoven wrote ‐
symphony was eventually dedicated to Prince Lobkowicz “Concerto par Clemenza pour Clement ‐ A concerto for
who paid the massive amount of 400 ducats for its Clement out of forgiveness” – possibly indicating that he
exclusive use for six months and a further sum for the had exempted Clement from responsibility for the
dedication. On its publication in 1805, it received the artistic failure of the opera earlier in the year. It was
ambiguous title of “Sinfonia Eroica” with the enigmatic finished only two days before the performance on 23rd
addition ”composed to celebrate the memory of a great December and Clement had to sight read most of it at
man”. The symphony’s unprecedented length and the concert. The reviews were unfavourable although
massive orchestral scale represented a new departure in appreciation of the work could not have been assisted by
symphonic writing and critical opinion on it was divided. the fact that it was interrupted by the interval and a
Some recognised it as a truly original masterpiece, display of theatrical tricks by Clement who played a work
others baffled by what they perceived as its lack of of his own composition on one string with the violin
coherence saw only an “untamed striving for upside down. It was eventually dedicated to Stephan von
singularity”, while others although admitting that it Breuning and in a touching act of symmetry he also
contained many beauties reacted against its inordinate dedicated the version he made for piano and orchestra
length which “wearies even the cognoscenti and is to von Breuning’s wife, Julie on the occasion of their
unendurable to the mere music lover.” marriage in 1808. During this year he seems to have
finally overcome the social limitations he had imposed
Schikaneder’s restoration as director of the Theater an on himself on the onset of deafness. A few words
der Wien in 1805 renewed the possibility of a production scrawled on the sketches of the final movement of the
of the opera and a first performance was scheduled for third Rasumovksy quartet reads: “Even as you are now
15th October of that year. Initial censorship problems being drawn back into the vortex of society, so in spite of
were overcome by discrete alterations to the libretto but all the social obstacles in your path, it is possible for you
the rehearsals dragged on mainly due to Beethoven’s to write. Your deafness is to be a secret no longer, not
inability to stop tinkering with the music. The first night even in your Art. ”He no longer felt shame or anxiety
therefore did not take place until 20th November and about his condition or feared that it would adversely
the postponement proved critical. By that date Vienna affect his reputation as a composer. He could now say
had been occupied (peacefully and unopposed) by the aloud the words which he thought he would never be
French army and all Beethoven’s aristocratic friends and able to utter in public: ‘Speak louder, shout, for I am
other music lovers had thought it wise to leave the city. deaf“.
The three performances it achieved were sparsely
attended mainly by French officers for whom a work Early in 1807 the British publication rights to a large
containing long stretches of German dialogue did not number of Beethoven’s works were sold to the London‐
appeal. The opera’s failure was not however solely due based composer and piano manufacturer Muzio Clement
to external circumstances. There were serious flaws in its for £200 (the equivalent of 2.000 florins), which must
structure and dramatic pacing and Beethoven was have eased his perpetual worries about money (his
prevailed upon to make cuts and changes which he annuity from Lichnowsky had by this time ceased,
implemented with the assistance of Stephan von probably at the time of their quarrel over his refusal to
Breuning to whom he was now fully reconciled. A perform for his guests). He received a major commission
12

from Prince Esterházy to provide a mass for performance appeared in the programme meant that the symphony

on his wife’s name day. This was his first mass setting now known as the Pastoral was advertised as the Fifth
and knew it would inevitably be compared with those Symphony) followed by a movements from the Mass in
which Haydn had produced for the Princess’ anniversary C. The Fourth Piano Concerto concluded the first half
on several previous occasions. Unfortunately the Mass in and a Choral Fantasia the second. Beethoven decided to
C did not meet with Esterházy’s approval. “But my dear write the Fantasia only at the last minute in order use all
Beethoven what is this you have done?” was his only the forces ‐ choir, soloist orchestra and piano ‐ which
public comment but privately he was said to be angry had been assembled for the rest of the concert. Of all
and mortified, calling the work ridiculous and detestable the works in this lengthy programme, only one, the
and expressing doubts that it could ever be performed concert aria Ah Perfido written in 1796 had ever been
properly. Perhaps he found Beethoven’s approach which performed in public. Things began to go wrong at an
was very different to Haydn’s, was simply not to his taste early stage. Relations between Beethoven and the
or inappropriate to the occasion. His doubts about it orchestral players which were already strained following
ever achieving a proper performance suggests not only a dispute at a previous concert deteriorated to the point
that its execution on that occasion had been flawed that they refused to rehearse if he were present (this
(there had been problems at the rehearsals which not all was not the first time Beethoven had fallen out with his
the singers had attended) but Beethoven may once players – at his 1800 concert, his attempt to replace
again have misjudged what the available forces could their usual director with one of his choice caused a
achieve. similar rebellion). Beethoven was banished to an ante‐
room from where he had to communicate his
At the end 1807, Beethoven proposed to the Directors of instructions concerning the new and previously unheard
the Imperial Theatres that they offer him a contract works via the leader, with whom he was still on speaking
under which he would compose one opera each year for terms. He had engaged the soprano Anna Milder, who
an salary of 2.400 florins plus a third of all receipts for had sung the role of Leonore in Fidelio to perform the
performances. This was a very bold request considering aria, but she walked out after a disagreement with him.
that he had only one spectacular operatic failure to his Even the weather conspired against him: it was an
name and although one of the directors was Prince unusually cold December night and temperatures in the
Lobkowitz whom he could expect to be well disposed to unheated theatre dropped to near freezing point.
him, another was Prince Esterházy with whom relations Accounts of the concert differ but all agree that things
were now strained. Whatever the Directorate thought of did not run smoothly. The replacement soprano suffered
this request, it made no official response to him. a bad attack of stage fright and sang very badly, and the
Beethoven is always regarded as the one of the first performance of the Choral Fantasia broke down
“freelance” composers unfettered by the constraints altogether. For some reason which remain unclear,
imposed by association with a patron or institution and Beethoven who was playing the piano part, found that
therefore able to write according to the dictates of his he was not at the same point in the music as the
heart. Yet this was a position from which all his life he orchestra, and he was forced to call to a halt and restart
sought to escape and he was constantly trying to secure the piece. None of those present have left any account
a steady and regular source of income. He does not of the reception of the two new symphonies or whether
seem to have been interested in money for its own sake the event was well attended – there was another
– he was not extravagant, and indeed as he grew older concert on the same evening – and so we do not know if
he spent less and less on his personal comfort – and he Beethoven reaped any financial reward from the
was always very generous: to his friends, to his brothers multiple premiere of some of his greatest works
and to various charities to which he lent his works free
of charge and often copied at his own expense for fund The following year he seemed at last on the brink of
raising performances. He had been able to rely on achieving the financial security he craved. At the end of
wealthy connoisseurs like Lichnowsky, Lobkowitz or 1807 he had been by Jerome Bonaparte, who had been
Oppersdorf effectively to subsidise the writing of larger installed by his brother as King of Westphalia with an
and more radical works which once successfully offer to become resident Kapellmeister at his court in
performed could proceed to publication. However his Kassel where he would oversee musical activity but be
recent experience with Esterházy’s Mass showed that free to spend his time in composition. Whether
what he wished to write might not always find favour Beethoven ever had any intention of actually taking up
with his wealthy backers and the difficulty he had in this position is unknown but he used the threat of his
disposing of the publishing rights in the work gave a potential departure (which he had already hinted at in
warning that he could not always take this source of his letter to the Directorate the previous year) as a lever
income for granted. to extract a counter offer from the Viennese musical
establishment. After negotiations carried out on his
At the end of 1808 he was finally given permission to behalf by his friend Countess Erdödy a contract was
hold a benefit concert and his ambitious plans for this concluded on 1st March 1809 under which Beethoven
event reveals the deeply impractical and unrealistic agreed to remain in Vienna or another imperial city (with
aspect of his nature. Each half of programme was to the provision that he could undertake the occasional
open with a new symphony: a Symphony in F entitled “A concert tour) in return for a salary for life of 4.000 florins
Recollection of Life in the Country” and a Grand a year plus the guarantee of an annual benefit concert.
Symphony in C minor (the order in which these works The only obligation he had was the not particularly
13

onerous duty of organising a charity concert each year. rather than the specific leave‐taking of two individuals
In return his sponsors were to have the satisfaction of that he had in mind. Very few of the descriptive titles
considering themselves “as having a share in the which have become attached to his works, were given by
authorship of his new larger works because they make it Beethoven himself. Two other pieces he completed in
possible for him to devote himself to such works and 1809, the Fifth Piano Concerto (also dedicated to
relieve him of the need to attend to other duties”. The Rudolph) and the Op.74 string quartet (both in the E flat,
signatories of this contract and contributors to the a key which he favoured during this period) are known
annuity were Prince Lobkowitz (700 florins), Prince by names applied to them by others. The “Emperor”
Kinsky (1.700 florins), and his Imperial Highness concerto was christened by Johann Cramer simply
Archduke Rudolph (1.500 florins), Rudolph was a because he was struck by the grandeur of its music. The
talented pianist and he had received the dedication of quartet’s name “The Harp” stems from the prominent
the Fourth concerto and had taken the piano part in the use of pizzicato in the first movement which at least has
first performance of the Triple Concerto. He became the excuse of being obviously descriptive and does not
Beethoven’s piano pupil and was his only student of impose damaging associations unintended by the
composition. Beethoven tempered his outspoken composer. In contrast the “evocative” title given to the
egalitarianism in his dealings with Rudolph but although Piano Sonata Op.27 No.2 by the poet Rellstab for whom
his letters show appropriate deference to the youngest it conjured up an image of moonlight on Lake Lucerne
brother of the emperor, they are without now distorts perception of the sonata as a piece of
obsequiousness and on one occasion when Rudolph had romantic scene painting.
kept him waiting for his lesson, he took his revenge by
making him play a series of difficult and painful Any expectation that his annuity would relieve him of
exercises. For his regular visits to the royal palace financial worries and allow him the freedom to work on
Rudolph eventually had to instruct the imperial servants large scale works, was a short‐lived. Neither Lobkowitz
that the usual protocols should be suspended in or Kinsky, whose financial affairs were thrown into
Beethoven’s case. disarray by the war, were able to make full payment for
some time and Kinsky was killed in a riding accident
Before Beethoven had time to enjoy his new found before the issue of his contribution was resolved, leaving
financial security, Vienna was under threat of another Beethoven the delicate task of writing to his widow to
French invasion which prompted Rudolph and the other try to get her to honour his pledge. The Austrian paper
sponsors to withdrew from the city. This time the currency in which the annuity was paid became
th
Austrians decided to defend Vienna and on 11th ‐12 of progressively devalued and was finally re‐established in
May it was subject to an intense bombardment from 1811 at 20% of its original value. This reduced the
which Beethoven was forced to take refuge in the cellar original generous allowance of 4.000 florins to 800
of his brother’s house, covering his ears with cushions to florins in real terms on which at the prevailing prices it
protect his hearing from the noise. Life under the French was impossible for Beethoven to live. Rudolph agreed to
occupation was hard with food shortages and steep adjust his contribution to 1.500 florins at the revised
price increases and Beethoven, who was also prevented valuation but it took Beethoven some time and effort to
from making his annual trip to the countryside, found get the full value of his annuity restored. So it is perhaps
composition impossible. During this period he was not surprising that during this period Beethoven was
visited by Baron de Trémont who has left the famous unable to turn his mind to “the invention of larger
description of the dirty and disorderly conditions under works” which had been intention behind his award. He
which Beethoven was then living, complete with the un‐ did manage to produce a number of small scale works
emptied chamber pot beneath the piano. Beethoven including the Op.97 Trio in B flat known by virtue of its
was certainly not over fastidious in his domestic dedicatee as the “Archduke”. At this time Beethoven
arrangements but this snapshot of life in the midst of also began his long association with George Thomson of
war should not be taken as representing his habitual Edinburgh for whom he was to produce eighteen sets of
lifestyle. folk song settings over the next ten years. His increasing
deafness was making public performance in ensemble
Rudolph’s departure from Vienna prompted the works ever more problematic. The composer Louis Spohr
composition, one of the very few of his works in which witnessed a disastrous rehearsal of the Archduke Trio in
the music can be related to specific events in his life. He which Beethoven, unable to modulate the dynamics of
completed a sonata movement in E flat which he his performance either played so loudly that he drowned
inscribed: “The Departure – on 4th May 1809 written out the other instruments or so softly as to be inaudible.
from then heart to His Imperial Highness” and wrote out When the Fifth Piano Concerto eventually received its
the syllables “le‐be‐wohl“ (farewell) over its first three first Viennese performance in February 1812 (it had
notes. He later added two other movements entitled been premiered in Leipzig three months previously ) it
Abwesenheit (Absence) and Das Wiedersehn (The was played by Beethoven’s pupil Carl Czerny, the first
Reunion) and insisted that the references and dates be time that Beethoven had not introduced a new concerto
included in the published version to anchor it to the to the public himself. He did not however retire from
event it commemorated. He was unhappy that the public performance altogether and later that year
translation of the title into French as “Les adieux”, by appeared in a charity concert to raise funds after fire had
which the sonata is now generally known, gave the partially destroyed the town of Baden, in which he
impression of an impersonal and generalised farewell played with the Italian violinist Giovanni Polledro.
14

Presumably he was able to watch him closely for cues in enthusiasm for his music, albeit fuelled by popular

a way that would have been impossible if playing in a acclaim for one of his more eccentric works, led to
larger ensemble and Beethoven’s ability to read a renewed interest in a revival of Fidelio. Beethoven
performance in this way is shown by the fact that when agreed but on condition that he could make substantial
his deafness was at its worst he was still able to correct revisions. Georg Treitschke, who had known Beethoven
an errors in the playing of one of his late quartets simply for many years, made many significant changes to the
through observation of the players. dramatic action and Beethoven thoroughly revised the
score, composing yet another overture (the fourth he
In 1811 and 1812 Beethoven sketched and completed had written for the piece) which unsurprisingly was not
two symphonies, his Seventh and Eighth and incidental ready in time for the first performance of the revised
music for Kotzebue’s one act plays “The Ruins of Athens” work on 23rd May 1814. This time the opera achieved
and “King Stephen”. He also finally met one of his great the success Beethoven had waited so long to achieve.
heroes, Goethe whose poems he had first set to music as Yet never one to let well alone, Beethoven took the risk
a youth and for whose play “Egmont” he had written an of reintroducing material that he had been persuaded to
overture and substantial musical interludes in 1810. cut from the 1806 revision, fortunately without adverse
Beethoven had a lifelong interest in and passion for effect on its popularity and so after nine years Fidelio,
literature, both the classics of the past ‐Homer, the assumed its final form.
Greek tragedians, Shakespeare and Ossian‐ and of more
recent times ‐ Schiller, Herder, and Goethe. The point of During the autumn of 1814 the emperor Franz hosted
contact between them was Bettina von Arnhim, the the Congress of Vienna at which the allied powers
sister of Antonie Brentano with whom both Beethoven convened to redraw the map of post Napoleonic Europe.
and Goethe corresponded. When the two giants of The city was filled with crowned heads and their
German culture met in Teplitz in the summer of 1812 entourages and elaborate entertainments were
they found themselves polar opposites in temperament. mounted for their amusement and diversion. Beethoven
Goethe made an acute assessment of Beethoven’s contributed a number of suitably patriotic and
inability to accommodate himself to the circumstances celebratory works including “Chor auf die verbündeten
of everyday life: “His talent amazed me but Fürsten” (Chorus on the Allied Princes) and the cantata
unfortunately his is a personality utterly lacking in self‐ “Der Glorreiche Augenblick” (The Glorious Moment)
control. He may not be wrong thinking that the world is which caught the triumphalist mood of the times. He
odious but neither does such an attitude make it any was now probably the most famous composer in Europe
more delectable for himself or others”. Beethoven for and basked in popularity in Vienna. He had not however
his part was frustrated by Goethe’s adherence to the composed a major work since the completion of the
conventions of polite society. They only met on this one Eighth symphony two years previously. There are various
occasion and Beethoven ‘s dream of collaborating with explanations for the long period of relative creative
Goethe on some great work never materialised. inactivity into which Beethoven sank between 1812 and
the beginning of 1819 when he embarked on the Missa
Wellington’s defeat of the French forces in Spain on 21st Solemnis. He did not stop writing altogether, working
June 1813 was seen as the turning point in the war steadily on the folk song arrangements for Thomson and
against the Napoleonic Empire and to celebrate this producing some small scale works ‐ the piano sonatas
event Johann Maelzel, inventor of the metronome, who Op.90 and Op.101, the song cycle “An die Ferne
had also designed some not very effective ear trumpets geliebte” (To the Distant Beloved), the cello sonatas
for Beethoven, asked him to devise music for his Op.101 a few more ambitious ones ‐ the cantata on
mechanical orchestra, known as the panharmonicon. He Goethe’s poems:“Meeresstille und Glückliche Fahrt”
wrote a short Victory Symphony for the machine which (Calm Sea and Prosperous Voyage) and the Namensfeier
with Maelzel’s encouragement he then orchestrated and overture each of which he completed only with
preceded with an introduction depicting the battle itself. difficulty. The sketchbooks show him working on some
The resulting work “Wellingtons Sieg oder die Schlacht major compositions ‐a piano concerto and two
bei Vittoria” (Wellington’s Victory or the Battle of symphonies‐ but he seemed unable to make headway
Vittoria) was performed, together with the Seventh with any of them. His old patrons were disappearing –
Symphony in December 1813 at a charity concert for war through death (Lichnowsky in 1814 and Lobkowitz in
victims, with several eminent musicians in the orchestra 1816) or bankruptcy (Rasumovksy but his annuity was
and Beethoven himself conducting. The concert was a supposed to have freed him from the necessity to write
huge success and was repeated a few days later. Such to commission or with an eye to publication. Perhaps
was the public’s appetite for the new work that this was the problem– the freedom to compose what he
Beethoven was granted two benefit concerts at which he liked when he liked may have had the effect of removing
repeated the Seventh and gave the first performance of the external impetus ‐a concert or commission‐ he
the Eighth Symphony. This was probably the most needed to complete works in progress. He also seems to
concentrated presentation of his music to the public he have gone through what would now be termed a mid‐
had ever achieved. However since in Beethoven’s life life crisis during this period. The Tagebuch (Diary) in
there was rarely a silver lining that was not accompanied which he began to record his thoughts together with
by a cloud, he became involved in a bitter dispute with other private writings show him suffering bouts of
Maelzel over the rights in Wellington’s Victory which was intense depression, torment and self‐doubt at this
resolved only after protracted legal action. Public period. He was still frustrated by his solitary and
15

unmarried existence and certain cryptic references in his the fact that it is a fairy tale. The real‐life battle between
diaries and letters have prompted speculation that he Beethoven and Johanna over Karl became a long drawn‐
may have visited prostitutes and suffered bouts of self‐ out nightmare for all concerned and a source of gossip
disgust as a consequence. However the references are and scandal in Vienna. Beethoven immediately
ambiguous and it is difficult to disentangle what he petitioned the Lansdrechte (the court which had
might have contemplated doing from what he may jurisdiction in cases involving the nobility) to have
actually have done. Johanna removed as coguardian. His case rested partly
on legal arguments: the codicil had been signed under
In 1815 he took on a challenge that was to occupy him coercion, and had been illegally removed to prevent the
for the next five years to the exclusion of virtually possibility of its revocation. But what he was really
everything else. In November of that year, his brother concerned to establish was that Johanna was unfit to act
Carl died after a long illness leaving a widow Johanna as guardian to her son and he took steps to unearth
and a nine year old son. Johanna has been pregnant at details of her involvement some years previously in an
the time of her marriage in 1806 and although embezzlement, which had almost led to her receiving a
Beethoven’s reaction to their relationship is not prison sentence. The court found in his favour in
recorded, his general views on personal morality and February 1816 and Beethoven lost no time in removing
sexual irregularity suggests that he would have Karl from his mother and placing him in a boarding
considered Johanna an unsuitable partner for Carl. His school where she was permitted see him at regular but
reaction in 1812 to the news that his other brother infrequent intervals and always at Beethoven’s
Johann had formed a liaison with his housekeeper had discretion. Johanna petitioned to have her rights as
been extreme. He travelled to Linz where Johann lived restored and the arguments between the two rivals
and did his best to break up the relationship by all means descended into personal attacks. Beethoven levelled
at his disposal including attempting to have the woman, accusations of dishonesty and immorality against
Therese Obermeyer, arrested by the authorities for Johanna – he more or less accused her of prostituting
immorality. His interference has had the opposite effect herself at the Artist Ball ‐ and Johanna responded that
to what he intended as Johann promptly married her. Beethoven’s ill health, deafness and bachelor status
Carl had signed a declaration a few years before that disqualified him from being able to provide adequate
Beethoven should be sole guardian of his son Karl in care for the child. Each insinuated that the other’s
event of his death but on his deathbed, he changed his treatment of the child was in some way abusive. Karl
mind and appointed Beethoven and Johanna in his will was moved from one educational establishment to
as co‐guardians of the boy. This set in motion a bizarre another and when he ran away to his mother was
train of events which could have done nothing to ease forcibly removed by the police. Eventually the
the dying man’s final hours. When Beethoven found out Landsrechte ‐possibly with some relief‐ took the
about this change of circumstances, he persuaded Carl opportunity to disengage itself from the case after
to reinstate him as sole guardian but during his absence Beethoven had accidentally let it slip that he was not in
from Carl’s bedside, Johanna then prevailed upon her fact a member of the nobility. Although Beethoven had
husband to add a codicil to the will restoring her right to never actually claimed he was of noble birth he had
at least a share in Karl’s upbringing. When Beethoven never taken the trouble to contradict those who
learned of its existence, he went off to recover it from assumed this was the case. Beethoven’s name was of
the lawyer so it could be revoked before Carl’s rapidly Flemish origin and so the “van” simply indicated the
approaching death and may even have been absent on family’s rural origins (in this case probably the “beet
this quest when Carl died. Beethoven immediately field” ‐ beethofen) and had none of the connotations
embarked on what turned into a protracted legal battle inherent in the German “von”. It was therefore a source
to gain sole guardianship of his nephew. At all times of humiliation to him when the case was demoted to a
during this unedifying affair Beethoven maintained that lower court. It was also a blow to his hopes as the
he was acting in the best interest of the child, and Magistrate Court which was now in charge of the matter,
considered that it was his sacred duty to ensure that he was much less inclined to look with sympathy upon his
and not Joanna was to have responsibility for the boy’s case and revoked his guardianship. His sought a final
upbringing. His attitude to Johanna which veers between adjudication from the Court of Appeal and, in the draft
vicious attacks on her character and expressions of memorandum he compiled for it he lists Johanna’s
regret at her position and concern for her welfare, shows shortcomings as a mother and an individual at some
him to have become almost unbalanced in pursuit of his length ‐ she is “as stupid as she is depraved”‐ accuses the
goal. He even persuaded himself at one point that she Magistrates Court of deluded prejudice against him and
had been in some way responsible for her husband’s hints at an improper association between its members
death. Johanna was cast in the role of “the Queen of the and Johanna. Only as an afterthought does he set out
Night”, whose child had been removed (although the advantages to Karl of being in his care. He took care
kidnapped would not be too strong a word) by the wise to mention his close relationship with Archduke Rudolph
and enlightened Sarastro (Beethoven of course) to and nominated Karl Peters, tutor to Prince Lobkowitz’s
prevent her from being corrupted by her mother’s baser children to act as his co‐guardian and it was probably
nature. The ambiguities in Mozart’s and Schikaneder’s these factors that swayed the court into finally
opera ‐ Pamina is after all‐in most immediate danger confirming Beethoven as Karl’s guardian in 1820. This
from Monostatos, a member of Sarastro’s entourage ‐ protracted and bitter dispute shows little of the best and
can be explained if necessary (although it is not) by that a great deal of the worst of Beethoven character. He
16

believed that it was his “sacred duty” to care for his removing the financial necessity for him to do so. Five
nephew and was prepared to fulfil that duty however years later the situation was different and the firm offer
much pain and suffering it brought him. He also of £50 from the Philharmonic Society for a new
genuinely considered that it was in the best interests of symphony had the desired effect. The idea of
the boy to be removed from his mother’s influence. Yet incorporating voices into an orchestral work had been on
although Johanna was by no means a moral paragon, his his mind since the experiment of the Choral Fantasia of
character assassination of her and his total disregard for 1808 and he incorporated this concept into the new
her rights and feelings as a mother is inexcusable (even symphony for London, choosing as his text Schiller’s Ode
when judged by the standards of the day). to Joy a poem, which he had first contemplated setting
in 1793.Work on the symphony was interrupted by
Despite most of his time and energy being consumed by further bouts of illness and the possibility of a
family matters, Beethoven managed to complete the collaboration on another opera with the poet Franz
Hammerklavier sonata (Op.106) in 1818, the first major Grillparzer, but by February 1824 it was finally ready for
work in terms of scope and originality which he had performance. Dissatisfied with the recent reception of
written in six years and which ushered in the great works his music in Vienna, he let it be known that he was
of his ‘late period’ – the Missa Solemnis, the Diabelli considering holding the premiere of his new work in
Variations, the Op.111 Sonata and the five quartets. Berlin where he felt it might be better appreciated. This
Rudolph’s appointment as Archbishop of Olmutz in 1819 had the effect of galvanising Viennese music lovers into
had prompted Beethoven begin work on a mass to be presenting a gratifyingly flattering petition in which they
performed at his enthronement ceremony, which was urged him to reconsider. Preparations for the Grand
due to take place in March 1820. He had little over a Concert at which the Ninth Symphony was to be
year in which to complete it and Rudolph probably did performed along with the overture “Die Weihe des
not seriously expect it to be ready for the ceremony. In Hauses” (The Consecration of the House), and the Missa
the end he received his presentation copy of the score in Solemnis, did not run smoothly. The religious authorities
March 1823, three years after the occasion on which it objected to the performance of sacred music in a theatre
should have been performed. Beethoven soon realised and eventually only the Kyrie, Credo and Agnus Dei were
himself that he had no realistic chance of completing it played under the guise of “Latin hymns”, thus depriving
on time and turned his attention to other works. Karl’s Beethoven of the chance to hear a performance of his
education and support were becoming a considerable great mass in its entirety. Two of the soloists had to be
drain on his resources and he began the rapid replaced because they were unable to sing their parts
production of smaller pieces for immediate publication. and bureaucratic difficulties over the venue and date
To provide for Karl’s’ long term future he had invested meant that the concert was in doubt until the last
his savings in bank shares to a total value of 10.000 moment. Beethoven as ever suspected a conspiracy
florins and so his immediate need for money was acute. against him and his feelings are summed up in a series of
He began to revise old and previously unpublished works curt notes he sent to his friends just before the
for sale and entered into complicated negotiations with scheduled date. That to Count Moritz Lichnowsky
his publishers over rights in the still incomplete mass. His (brother of his old patron) reads in its entirety: ”I despise
dealings in this matter show him in a not entirely treacheries. Do not visit me again. Concert not taking
favourable light as he offered the rights in it to a place.” Eventually all obstacles were surmounted and on
succession of publishers increasing the price on each 7th May 1824 the concert was held in the Royal Imperial
occasion. To squeeze the last drop of potential income Court Theatre before a packed house. Beethoven by this
from the work he offered deluxe manuscript copies of stage was too deaf to direct but he took up a position
the score for fifty ducats and spent a considerable beside the conductor so he could set the tempo for each
amount of time and effort canvassing subscriptions for movement. This meant that he had his back to the
and preparing this special edition (all of which took time audience and gave rise to the famous and moving scene
which might otherwise have been spent composing). on the reception of the Ninth Symphony in which the
Beethoven’s late works may be among the greatest and soprano, Caroline Unger, tugged gently at his sleeve to
most profound works of art but they were brought into attract his attention before turning him round so he
existence as much by the need to earn money as to could at least see the wildly applauding audience he was
satisfy a desire for creative expression and in November unable to hear. This event undoubtedly happened but it
1822 he received two commissions which were to is not certain whether it took place at the end of the
provide the last masterpieces. In 1817 he had accepted symphony or after the second movement Scherzo which
an invitation from the Philharmonic Society of London to was also applauded with calls for a repetition. If the
produce two new symphonies for performance in his latter, it is possible that Beethoven was aware of the
presence or under his direction in London the following audience reaction (his deafness was never total) but did
year. However he managed to make little headway on not wish to interrupt the work’s progress by
them before it was obvious that neither would be acknowledging it at that point. The concert was a critical
completed in time for the 1818 season. Illness and the and popular success but a financial disaster – the high
continuing legal tussle over Karl affair no doubt costs of mounting it had eaten heavily into the profits
prevented him from concentrating fully on them but it is and Beethoven suspected he had been cheated. He
possible that the restoration of his annuity to more or vented his anger on his friends who had been involved in
less its full value at around the same time may also have the arrangements and several of them walked out of the
played a part in his failure to complete them, by dinner which had been organised to celebrate the event.
17

A repeat performance was put on a few weeks later in a having paid to attend the official premiere of the work.
larger venue and with a slightly altered programme but Beethoven’s response to Dembscher’s reluctance to pay
proved even more disastrous in financial terms without a fee, was to compose a canon on the words “Es muss
the compensatory popular success enjoyed by the sein!” on the relevant notes of the quartet. Whether this
previous concert. A combination of high ticket prices and incident gave him the idea to open the quartet’s finale
the fact that many people had already left for the with a musical question and answer or the canon was
country meant that on the last occasion Beethoven’s derived from music he had already sketched for it, this
works were played in public during his lifetime it was to story suggests that, whatever the interpretation placed
a half‐empty house. on the final movement’s opening bars, his intention was
not entirely serious. Beethoven did however experience
The other commission he received in November 1822 great emotional trauma during the period of its
was from Prince Nikolas Galitzin for a set of up to three composition. His relations with Karl who was now
string quartets, a medium into which Beethoven had not nineteen and attending university had become
ventured since the isolated Op.97 “Quartett Serioso” of increasingly strained. They argued a great deal over
1810. Earlier that year, he had offered a quartet to one matters that divide all fathers and adolescent sons ‐the
of his publishers but this suggestion was not taken up need to work harder, to spend less money, to break off
and since Beethoven seldom composed simply for the with unsuitable friends, to choose a suitable career‐ and
sake of it, he put aside the sketches on which he had although Beethoven as always had Karl’s best interests
been working. But Galitzin’s commission and the fee of at heart, his approach to these issues was somewhat
fifty ducats per quartet prompted him to return to them overbearing. Karl eventually found himself unable to
(had Galitzin decided to commission a symphony instead cope and in a melodramatic gesture attempted suicide.
then Beethoven’s Tenth may well have replaced the five In all probability he never intended actually to kill
last quartets as his final masterpiece!). The completion himself – he tried twice to shoot himself in the head but
and publication of the Missa Solemnis and Ninth missed completely with the first shot and received a
Symphony prevented him from turning his full attention superficial wound in the temple from the second.
to the quartets until 1824 but once he got into his stride, Naturally the incident had a devastating effect on
he found that the facility had returned. In addition to the Beethoven but it is impossible to guess so from the
three quartets for Galitzin, he wrote two others in part music of Op.135 and this highlights the extent to which
to satisfy his publishers with whom as with the Missa he was able to separate the events of his personal life
Solemnis, he had indulged in some questionable from his music.
negotiating strategies. Those who believe that the
sublimity of the late quartets could only be the product These upheavals in his personal life did not interrupt his
of a consciousness remote from all worldly work and in addition to the Op.135 quartet, he
considerations should read Beethoven’s correspondence undertook a four‐hand piano version of the final
with his publishers on the subject. Two of the quartets movement of the Op.130 B flat quartet, which had been
contain rare allusions to the external world. The slow published at the beginning of the year. Piano
movement of the Op.132 C minor is entitled “Sacred arrangements of quartets were becoming popular as a
song of thanks from a Convalescent to the Godhead, in way of making them more accessible to a wider
the Lydian Mode” and has obvious connections with his audience, but when his publisher asked Beethoven for
recovery from the serious illness he had suffered in the an arrangement of the massive fugue with which the
spring of 1825 during its composition. The references in Op.130 quartet ends, he declined. He had no objection
the Op.135 quartet in F are more enigmatic. The final to this being done by someone else but once he saw the
movement bears the heading “Der schwer gefasste results, he changed his mind and decided to undertake
Entschluss” (The Very Difficult Decision) and against the the task himself. This movement had been the subject of
opening musical phrases are written the words “Muss es controversy since the first performance of the quartet in
sein? Es muss sein!” (Must it be? It must be!). This recalls March 1826. Its massive length ‐it is as long as many
the opening bars of the Lebewohl Sonata but in that entire quartets‐ and the density and complexity of the
case, Beethoven’s intent is clear. Whether it embodied a fugal ideas led some to dismiss it as the confused
profound statement on the inexorability of destiny or product of a composer no longer able to gauge the effect
was simply one of Beethoven’s jokes has been the of what he could not hear. Beethoven was equally
subject of much speculation. Moritz Schlesinger, who dismissive of such views, referring to those who had
published Op.135 after Beethoven’s death, claimed that failed to appreciate his great fugue as asses and cattle.
Beethoven had confessed enormous difficulty in However he seems to have had second thoughts on the
completing the quartet, with the question and answer effectiveness of this movement as the conclusion to an
reflecting the resolution of his inner struggles. But already extremely long piece and when it was suggested
although this quartet was, in fact, Beethoven’s last to him that he might replace it with another movement
completed work, he had no idea of this at the time and he agreed with surprisingly little argument. Beethoven
Schlesinger’s story seems designed to lend gravity and was always aware of the difficulty of some of his music
significance to this fact after the event. An alternative and the effect it might have on players and audience. He
and more down‐to‐earth explanation is that it relates to had inserted a note in the published edition of the Eroica
an incident in which an official called Ignaz Dembscher Symphony recommending that because of its length it
wished to arrange a private performance of one of the should be played towards the beginning of a concert
earlier quartets (Op.130) at his own house but without programme when the audience was fresh and he
18

sanctioned the publication of the massive extremely rude to him on his last visit. By the time he
Hammerklavier Sonata in various truncated versions to was finally seen by a doctor on 5th December he was
make it more accessible. He often is reported as saying suffering from pneumonia and although he rallied briefly
of certain of his works that they would be appreciated he soon suffered a relapse. The onset of jaundice and
only by future ages. This was not to imply that he was dropsy, both symptomatic of a failing liver, was the
wilfully writing beyond the comprehension of his beginning of the end. During his last miserable months
audience – he was simply acknowledging that the he showed a calm stoicism and equanimity rarely before
originality of his works would be hard to grasp displayed in his tempestuous and temperamental life.
immediately. He would not compromise his artistic On four occasions the fluid accumulating in his body had
principles either by writing “easy” music, unless this was to be drained from an incision in his abdomen, a painful
the object of the exercise, or to render a piece more operation without anaesthetic but which seemed to give
appropriate for its circumstances (as was probably the him some relief. One of his doctors Giovanni Malfatti,
case with the early cantatas an the Mass in C). But he uncle of his old love Therese, prescribed iced punch and
was concerned that his music should have an audience although alcohol was the last thing he should have been
and his decision to write a new movement for the taking in his condition, this eased his pain. Beethoven
Op.130 quartet shows that he was aware that this would sent a request to one of his publishers, Schott of Mainz,
increase the chance of that happening. The original for some of his favourite Moselle wine which
finale movement took on an independent existence as unfortunately arrived just before his death, prompting
the Op.133 Grosse Fuge. The modern practice of his last recorded words: “Pity, pity. Too late.” His final
restoring the Grosse Fuge to its place as the concluding weeks were cheered by the a gift of the complete works
movement of Op.130, although in line with Beethoven of Handel, his favourite composer, which he studied
original conception does run contrary to his final while his strength remained. He still made plans for new
intentions. Beethoven, unlike for example Bruckner who compositions, including a requiem and a work on
was all too easily persuaded to make changes to his Goethe’s Faust, and promised a new symphony “already
music against his better judgement, rarely did anything sketched” to the Philharmonic Society which on learning
he did not wish to do, so the second less magisterial of his condition had sent him £100. Karl had left to join
finale must be taken as his final word on the quartet. the army in early January and did not see his uncle again
but Stephan von Breuning was a frequent visitor with his
At the end of the summer of 1826 Karl was discharged thirteen year old son Gerard who has left a touching
from hospital and was making plans to join the army, a account of Beethoven’s last days. As the end drew near,
choice of career about which Beethoven had strong he was persuaded to take the last sacraments although
reservations but now felt unable to oppose. In an this was probably more to please those around him than
attempt to assist his recuperation, Beethoven took him for his own solace. Beethoven had a strong and enduring
to visit his brother Johann and his wife. They lived on a faith in a personal God but was never an adherent of
country estate at Gneixendorf some distance from organised religious practice. One of his final lucid
Vienna which Johann had bought with the proceeds of comments was: “Plaudite amici, comoedia finita est“
the sale of his pharmacy business in Linz. He had (Applaud, my friends, for the comedy is over). On 24th
originally purchased the business in 1808, with the help March he sank into a coma which lasted two days. On
of a loan from his brother but recently the position had the afternoon of 26th March, a violent thunderstorm
been reversed and Beethoven had been in debt to struck Vienna and at 5.45 pm there was a sudden flash
Johann, a source of considerable friction between them. of lightning and peal of thunder. Beethoven opened his
Beethoven found his brother’s pretensions amusing and eyes (thus proving that even at the end some hearing
when Johann signed himself “Johann van Beethoven was left to him) raised his arm with fist clenched and
Landowner”, he is supposed to have responded by died. It was exactly forty nine years to the day and the
signing himself “Ludwig van Beethoven Brainowner”. hour since he made his public debut as a musician on the
concert platform in Cologne.
This family reunion was not without its tensions but this
did not prevent Beethoven composing the replacement The autopsy revealed the cause of death to be
movement for Op.130 and making a start on a String complications arising from liver and kidney failure. The
Quintet. However as winter approached Beethoven felt doctors sawed the temporal bones which contained the
the need to return to Vienna and rejecting the offer of inner and outer‐ear structures, out of his skull and had
permanent board and lodging with his brother (not an these been preserved to modern times they might just
altruistic gesture on Johann’s part as he proposed have provided a clue as to the cause of his deafness.
charging him 40 florins a month) Beethoven and Karl set However these precious relics soon disappeared from
out on 1st December. They travelled in an open carriage view and supposedly ended up in London were in a
(it is uncertain as to whether this was all Johann would rather unlikely twist of fate they were destroyed in a
provide) and spent the night in an unheated inn with the German air raid during the Second World War. It was
result that Beethoven arrived back in Vienna suffering common practice to remove a lock of hair from the
from a feverish chill. There were critical delays in departed to keep as memento but Beethoven’ s corpse
providing him with medical attention, Karl was slow to became the object of overenthusiastic souvenir hunters
realise the seriousness of his uncle’s condition and and was virtually shorn before the coffin was finally
Beethoven’s usual doctors were unavailable ‐ one closed. Some of the surviving strands of hairs have been
refused to attend because Beethoven had been subjected to analysis which shows that he definitely did
19

not suffer from syphilis (a common conjecture as a III. THE SYMPHONIES

contributory factor to his deafness). This analysis did, SYMPHONY NO.1 IN C MAJOR OP.21
however, reveal there had been high concentration of Beethoven began sketching what was to become his
lead in his system from his early years giving rise to Symphony No.1 in C major, Op.21, in 1795 but although
speculation that his violent mood swings throughout his he made extensive sketches of its first three movements,
life may have been the result of its progressively toxic he was unable to find a satisfactory way to conclude it.
effect. At his funeral on 29th March 1827 an estimated However some time in 1799, he decided that a simple
twenty thousand people ‐ten percent of the population ascending scale motif, which he had sketched for use in
of Vienna at the time‐ watched the coffin (with Schubert the opening movement, was the ideal starting point for
as one of the torchbearers) progress from his final the finale and, although he had to revise the previous
lodging, the Schwarzspanierhaus to the Währing movements in the light of this change, he now managed
cemetery where a funeral oration by Grillparzer was to complete the work quickly. The ascending scale can in
read. While paying tribute to his extraordinary gifts as a fact be heard very softly in the strings at the beginning of
creative artist, Grillparzer also reminded his listeners of symphony, then at the transition from the introduction
Beethoven’s humanity, with all its attended foibles, to the Allegro con brio section and once again at the
frailties and eccentricities: beginning of the third movement. The second
movement Andante is really a minuet in disguise and the
“He was an artist but he was also a man a human being third movement, although called a Minuet, is really a
in the most perfect sense of the word. Because he scherzo, whose tempo marking Allegro molto e vivace,
withdrew from the world, they called him hostile and gives the game away immediately.
because he shunned sentimentality, unfeeling. No! One
who knows himself to be firm does not flee. He who is The finale, in which the ascending scale now takes on a
oversensitive avoids the display of feeling. If he fled from prominent role, begins with a joke and one 19th century
the world it was because in the depths of his loving conductor, fearing that the audience might laugh at it,
nature he found no weapon against it. If he withdrew chose to omit the opening bars. After a dramatic chord,
from mankind, it was because he had given his all and as if in preface to some grand statement, the music picks
received nothing in return. He remained alone because its way with comic hesitancy up the scale, finally making
he found no second self. Yet until death he preserved a it to the top on the sixth attempt. Once launched, the
human heart for all humanity; a fatherly affection for his movement continues with Haydnesque good humour
kin and his possessions and lifeblood for the whole world. and ends with martial flourishes among which the
Thus he was and thus he died and thus will he live for all ascending scales continue to play. The woodwind’s
time.” prominent role throughout the symphony, established in
the opening chords of the first movement, did not meet
with the approval of an early reviewer who commented,
rather dismissively, that it made the piece sound like
music for wind band.
II. OPUS NUMBERS
Beethoven was one of the first composers to assign
Opus numbers to his works chronologically, beginning in SYMPHONY NO.2 IN D MAJOR OP.36
1795 with the Op.1 Piano Trios. Beethoven had probably completed the Symphony No.2
in D major Op.36 by April 1802, before his departure for
There are a total of 138 works bearing an opus number, Heiligenstadt where he was to confront and overcome a
almost all applied by Beethoven himself on publication near suicidal depression over his worsening deafness.
(apart from the final three which were published This work however shows no signs of any inner turmoil
posthumously). Occasionally two works were and its confident vigour confirms Beethoven’s assertion
accidentally given the same number, as in the case of the that his “defect” affected him least when he was playing
Piano Sonata in E flat (Das Lebewohl) and the Sextet in E and composing.
flat, both of which were issued at the same time by
different publishers as Op.81 and are consequently now Unlike its predecessor, in Beethoven took his time in
referred to as Op.81a and Op.81b respectively. It is not establishing the home key, the symphony opens with a
however always possible to place a composition in the unison statement in the “ correct” key with trumpets
chronological sequence of Beethoven’s works simply by and timpani introducing a martial atmosphere. During
its opus number as several were published long after he the long Adagio introduction, the music slips into D
had written them. There are also many works to which minor in a descending figure, underscored by the
he gave no opus number and Georg Kinsky and Hans timpani, that recurs throughout the movement and is a
Halm provided these with a WoO number (Werke ohne pre‐echo of the opening theme of the Ninth Symphony.
Opuszahl – works without opus number) when they The energetic passages of the first section of the Allegro
compiled the first complete catalogue of Beethoven’s are followed by a more lyrical theme, reminiscent of a
works which was published in 1955. revolutionary song. The movement ends with a massive
coda, twice as long as the development section, to which
fanfares in the brass and surging unison strings provide a
heroic conclusion. The Larghetto is characterised by its
gentle and sustained melody from which trumpets and
20

drums are banished although the horns make a introducing heroic fanfares. The march is interrupted by

restrained appearance. A slight increase in tension at the a fugato passage at whose conclusion it comes to a halt
movement’s midpoint is quickly released by the return in a thunderous outburst in full orchestra, before
of the main melody and it ends on a distinctly pastoral resuming its relentless onward tread. Finally, under an
note. The Scherzo, which now admits its identity as such, oscillating figure in the strings, it seems to disappear into
is built around a three note figure tossed vigorously the distance as the music fragments and finally dies
around the orchestra and is characterised by abrupt and away into nothing. The pianissimo opening of the
unexpected dynamic contrasts. The Trio section includes Scherzo emerges naturally from the closing silences of
another of Beethoven’s jokes, as the strings emphatic the Funeral March. The Trio section features an unusual
statements in the “wrong” key of F sharp are brusquely trio of horns whose E flat major hunting calls recall the
corrected by the brass and timpani. The Finale however opening theme of the symphony.
opens with flourishes in F sharp, justifying its intrusion
into the Trio, after which the two themes around which The absence of any sketches for the final movement
the movement is based are quickly introduced . As the imply that Beethoven had always intended to build it
movement moves confidently to its conclusion, it is around a theme taken from his ballet “Die Geschöpfe
briefly halted by a massive chord in F sharp (again) but des Prometheus” (The Creatures of Prometheus) of
ends with the reassertion of the opening flourishes now 1801, which he had also previously used in a set of
established firmly in D major. Contredanses WoO14 and the Op.35 Variations for
Piano. After a brief orchestral outburst, recalling the
storm music with which the Prometheus ballet opened,
SYMPHONY NO.3 IN E FLAT MAJOR OP.55 EROICA the strings and the woodwind pick out the skeletal bass
The Symphony No.3 in E flat major Op.55 dispenses with line to the Prometheus theme, punctuated by
the introductory material that prefaced the opening interjections from the orchestra, forceful and muted in
movements of the first two symphonies and gets right to turn. After two sets of variations, the second with triplet
the point. The opening chords, which were introduced at accompaniment, the full theme is finally introduced.
a late stage in the work’s development, introduce an After a series of treatments including a fugue and a
arpeggio figure in the cellos which together with a march, it is given in a massively purposeful statement in
descending three note figure and repeated violin notes, full orchestra. The music of the Funeral March is briefly
provide the thematic foundation upon which the recalled but after a few bars of irresolution, the
movement is constructed. The resemblance of the movement’s opening statement returns, this time
opening bars to those of the overture to Mozart’s leading to a suitably triumphant conclusion.
youthful opera “Bastien und Bastienne” has been
remarked upon but as Beethoven probably did not know
that work, it is possible that both composers drew the SYMPHONY NO.4 IN B FLAT OP.60
theme from a collection of German dance music. During The Symphony No.4 in B flat, Op.60, is often considered
the opening bars, the music strays momentarily and slightly lightweight in comparison to its predecessor and
unsettlingly into C sharp major, a long‐range preparation successor ‐ Schumann characterised it as a “slender
for the reappearance of this key at the beginning of the Greek maiden between two Norse giants” ‐ and although
recapitulation. The enormous length of the development the work requires the smallest orchestra of all of the
section, which is made to seem even longer if the symphonies, it is by no means a small‐scale work. The
exposition repeat is omitted, and the introduction of symphony opens with a mysterious minor key passage in
what appears to be a new theme in the remote key of E which the music unfolds slowly over a long held B flat.
minor, have a cumulatively disorienting effect. Then, just The strings and woodwind wander in an apparently
when the hovering violins appear to be paving the way uncertain fashion until suddenly and without warning,
for the restatement of the opening theme at the the movement takes off in vigorous upward scales. The
recapitulation, the second horn makes an apparently first and second themes are in fact derived from the
premature entry, producing a momentary harmonic music of the introduction material where they appeared
clash. Beethoven was suitably scathing when his friend in slowed‐down and disjointed form. Beethoven cleverly
and pupil Ferdinand Ries assumed the horn had made an manages the transition from the development to the
incorrect entry and how he would have reacted to the recapitulation by introducing a prolonged roll on one of
adjustments made by 19th century conductors, including the timpani, tuned to B flat, which eventually guides the
Wagner (who should have known better) to smooth out swooping strings back to the home key. The movement
this carefully planned discord is better left unrecorded. ends with a coda which is as short as that of its
In keeping with the massive architecture of this predecessor was long. The Adagio is a fusion of
movement, the coda is an almost unprecedented 150 opposites – a long slow melodic line played over restless
bars long in its build up to the heroic climax. and edgy note patterns and surging arpeggios which run
like eddies and undercurrents beneath a placid river
The Funeral March is characterised by the bold use of occasionally breaking through its smooth surface. In the
orchestral colour with rumbling double basses middle section, there is a brief outbreak of turbulence in
suggesting muffled drums and triplets on the lower the forceful minor descending passages after which the
strings the drum beats which set the slow pulse of the music meanders back via the woodwind to the main
funeral march. The dark C minor of the march moves theme, flowing on without further intrusions to a serene
into a brighter section in C major with a plaintiff oboe close. Beethoven placed increasing importance on the
21

third movement of a four movement work, seeing it as the optimistic mood is restored in the Presto final
something more than a short and light weight prelude to section in which C major is emphatically and loudly
the finale, and in the Allegro vivace of this symphony, he confirmed.
indicated that each section should be repeated
(although the third appearance of the scherzo after the
repetition of the trio is truncated). The finale is a SYMPHONY NO.6 IN F OP.68 “PASTORAL”
vigorous exercise in perpetual motion in which strings The idea of writing a symphony embodying his love of
and woodwind duel over the bustling theme with the the countryside had been with Beethoven since 1803 but
bassoon given a particularly exposed passage at the it was only in 1808, with the drama and intensity of the
beginning of the recapitulation. The symphony ends, as Symphony No.5 behind him, that he turned his attention
it has begun, with a slow motion replay of the to a more relaxed work on this theme. His intention had
movement’s opening theme before the bassoon, cellos been to write an evocative “ Sinfonia Caracteristica”
and basses tumble down the scale to the final chord. rather than programmatic work and noted that” every
kind of painting loses by being carried too far in
instrumental music”. However despite the fact that he
SYMPHONY NO.5 IN C MINOR OP.67 apparently wanted the listener to be able “to discover
The Symphony No.5 in C minor, Op.67, opens the most the situations for himself”, he supplied generous hints by
recognisable four notes in music. There are differing calling his Symphony No.6 in F, Op.68, ”Recollections of
reports of the origins of the simple motif which Life in the Country” as well as adding descriptive titles to
dominates the movement and is omnipresent in the each of the five movements in the programme notes for
symphony. Schindler claimed that it represented “Fate the first performance. “Awakenings of happy feelings on
knocking at the door” but Czerny maintains that it arriving in the countryside” sets the scene in an
derived from the call of the yellowhammer. Whatever its expansive lyrical melody over the rustic drone and never
source or inspiration, the motif was present in the first strays far from the major keys. “Scene by a Brook”
sketches of the Trio which Beethoven made in 1804. maintains the air of tranquillity in an appropriately
From its opening bars, the movement maintains a flowing melody and the coda introduces various bird
relentless energy and drive even in the more lyrical calls ‐ the nightingale, cuckoo, and quail, whose
second theme, beneath which the four note motif identities Beethoven wrote into the score so that there
maintains its presence. The tension is broken should be no doubt about his intentions.
momentarily by the poignant introduction of the solo
oboe which is soon swept away as the movement ends The last three movements run continuously both
in obsessive repetitions of the motif. The long melodic musically and programmatically. In the Scherzo, “Merry
opening of the second movement Andante con moto gathering of country people”, the air of general bustle is
seems to have broken the motif ’s domination of the interrupted by the tuning‐up of a not very competent
work, but it soon reappears, at half speed, in the village band which is the signal for a the outbreak of a
clarinets and then in a bolder statement in the brass. The wild stamping dance. The final appearance of the
mysterious opening of the Scherzo is related to that scherzo theme is cut short by an ominous distant roll of
Mozart’s Symphony No.40 (K550) which Beethoven had thunder and the pizzicato patter of approaching rain.
noted down alongside the sketches for this movement. Beethoven may have cautioned against expressive
This gives way to a fortissimo statement in the horns of a instrumental painting but he conjures up a mighty
striding theme which obviously derived from the motif. tempest with the orchestra augmented by piccolo and
A contrasting Trio section on a bustling fugato in cello trombones for the purpose. Once the storm has
and basses does not however lead back to the expected receded, a rising C major scale in the flute introduces the
repetition of the opening themes. Beethoven’s original bucolic calls in clarinets and then horn out of which the
intention was for each section of this movement to be serene melody embodying “Charitable thoughts
repeated, as in the Symphony No.4, but he changed his combined with thanks to the Deity after the storm”
mind during rehearsals for the symphony’s premiere at arises.
the massive concert of December 1808. Although his
immediate consideration may have been to reduce the
running time of an extremely lengthy programme, he SYMPHONY NO.7 IN A OP.92
later confirmed this decision in his instructions to the After this “Pastoral Symphony”, Beethoven set aside the
publishers and the Trio section is followed by a pared‐ symphonic medium to concentrate on keyboard and
down version of the second theme in pizzicato. The chamber works, but in 1811 he returned to it once more,
transition to the finale which continues from the Scherzo and over the next two years composed his seventh and
without a break is managed in a dramatic fashion. The the eighth symphonies in rapid succession and also
timpani tap out the motif under a long held note on began sketching another work in D minor which had to
strings as the violins wander upwards in a slow wait a further twelve years for completion. The
crescendo until the tension is broken by the emergence Symphony No.7 in A, Op.92, was first performed in the
of the C major Allegro in which trombones and piccolos same programme as the “Battle Symphony” (Op.91) at a
are used for the first time in a symphony. The triumphal concert in aid of wounded soldiers in December 1813
progress of the movement is interrupted by a reprise of where it enjoyed a tremendous success. The work is
the ominous second theme from the Scherzo, which dominated by rhythm as Wagner’s famous description of
imports the motif into the last movement as well, but it as “the apotheosis of the dance” suggests. The
22

introductory section, the longest of all the symphonies, among the symphonies, the so‐called minuets of the first

has the slightly vague tempo marking poco sostenuto, and fourth really being scherzi in disguise, and the Trio
which is unusual for Beethoven who is usually precise in features a dialogue between horns and clarinet. The final
such instructions. The first theme, introduced across the movement ends with a long drawn out coda at the end
orchestra between massive chords, is backed by of which Beethoven as if recognising that the three
purposeful ascending scales and, after a momentary lull previous movements had ended inconclusively,
in which for perhaps the only time in the symphony the hammers home the same chord 27 times.
sense of forward movement is dissipated, a syncopated
figure arises in the woodwind whose rhythm supplies
the dominant thematic idea for the movement. This SYMPHONY NO.9 IN D MINOR OP.125 “CHORAL”
initial contrast between light and shade is soon dispelled The commission from the Royal Philharmonic Society of
and the music drives on relentlessly to the end of the London for a new symphony in 1822 took Beethoven
movement where the obsessive ostinato of the basses in back to the D minor work which he had first conceived in
the coda prompted Weber to speculate on whether 1812. He had worked on this symphony and another in
Beethoven had gone mad. which he planned to incorporate a choral movement
during 1817 and 1818 after an earlier approach by the
The second movement Allegretto is based on a theme Philharmonic Society, and when he returned to the
sketched several years previously for one of the sketches, he decided to transfer the vocal element into
Rasumovksy quartets and retains the A minor key of the D minor work (although he also sketched a purely
those sketches. This movement was very well received at instrumental finale, whose main theme was later used in
the first performances when it was repeated and the Op.132 string quartet). Beethoven’s original concept
became so popular with early 19th‐century audiences had been to write what he described as an Adagio
that it was often performed as a separate piece and Cantique ‐ “ a Pious song… in the old modes – Lord God
occasionally inserted into performances of other we praise thee – allelujah” ‐ but he decided instead to
Beethoven symphonies, notably the Second, as a set extracts from Schiller’s poem “An die Freude” which
replacement slow movement. It begins and ends with on had long been a source of inspiration for him. He had
a woodwind chord and comprises a simple set of first contemplated a setting in 1793 and on at least two
variations on a hypnotic march‐like theme which persists subsequent occasions he sketched melodies for various
below the contrasting major key middle section. The parts of the poem, as well as inserting lines from it into
Presto is built upon a long/short rhythmic pattern and the final chorus of Fidelio. He had already experimented
the Trio section is probably based on an Austrian with the combination of instrumental and vocal forces in
pilgrim’s hymn. Beethoven indicates only a slightly an ostensibly orchestral work in the Choral Fantasia of
reduced speed for the Trio (assai meno presto) but, in 1808 and there is an obvious relationship between that
the absence of a genuine slow movement in the work and the finale of the D minor symphony, both
symphony, it is often taken at a much slower pace. The melodic and structural. Beethoven in fact explicitly
final movement Vivace has been described as a “triumph associated the two works in describing the symphony to
of Bacchic fury” and surpasses the first in the relentless his publishers as “A new Grand Symphony in which solo
energy of its pounding rhythms and swirling figures . and choral voices enter with the words of Schiller’s
immortal song “An die Freude” in the manner of my
piano fantasy but on a much larger scale”. The
SYMPHONY NO.8 IN F OP.93 fragmentary descending fifths, which emerge from the
Beethoven completed the Symphony No.8 in F major, mysterious tremolandos at the opening of the symphony
Op.93, in the autumn of 1812 in Linz while visiting his return twice: at the end of the exposition, where
brother Johann in a misguided attempt to break up his unexpectedly there is no repeat ‐ the only occasion in a
relationship with his housekeeper, Therese Obermeyer the opening movement of a Beethoven symphony where
(his interference actually had the opposite of its this occurs (although there is a precedent in the Op.59
intended effect as it simply prompted Johann to marry No.1 quartet) and at the start of the recapitulation, in
her). This unpleasant family dispute and the emotional the form of a massive fanfare in D major.
turmoil Beethoven himself had recently experienced
during the episode of the” Immortal Beloved”, has left For the first time in a symphony, Beethoven reverses the
no mark on the music of this good natured symphony. expected order of the scherzo and slow movements
(although he had already done so in the first
The opening declamatory phrase is, unusually, not heard Rasumovsky quartet and the Archduke Trio). The shock
again until the development section, and the halting to the original audience when the orchestra launched
second theme is introduced after the music has become into a Molto vivace movement would have been
stalled, leaving the bassoon comically isolated. The heightened by the startling effect when the timpani,
ticking rhythm of the second movement Allegretto was tuned in octaves, burst into the third bar (the unusual
once thought to have been based on the action of use of the timpani throughout this movement prompted
Johann Mälzel’s prototype metronome but this anecdote applause even while the music was in progress). The
had been shown to be a invention by Schindler who also serenely contemplative Adagio is built on two
fabricated the canon which Beethoven supposedly wrote contrasting themes which are treated to increasingly
for Mälzel using this movement’s theme. The Tempo di elaborate variations and includes a long passage for the
Meneutto third moment is the only genuine minuet fourth horn which takes advantage of the capacities of
23

the recently invented the valve horn. The finale has been terms of beauty and originality; beyond this, it also
characterised as a “symphony within a symphony” and expressed a message.
can be broken down into four distinct sections which
reflect the structure of the work as a whole: an Although he was one of the foremost keyboard players
introduction, a theme and variations; a scherzo (the of his day, Beethoven wrote surprisingly few concertos
“Turkish March”), an Andante maestoso (“ Seid for the piano even before his increasing deafness
umschlagen Millionen” ) and a fugato Allegro con brio prompted a withdrawal from the concert platform. In
finale. After the harsh discords of the opening bars, an addition to his five mature works there is an early
assertive recitative in the basses introduces and rejects concerto dating from around 1783 which survives in a
themes from the previous three movements until finally copyist’s score (found among Beethoven’s papers after
subdued by the entry of the famous theme. This is stated his death) containing the full piano part and a reduction
first in unharmonized fashion in the cellos and basses of the orchestral tuttis with the instrumental forces
and then in a series of variations with the progressive marked (enabling a speculative reconstruction of the
addition of the other instruments. Just as it seems to be work to be carried out by Hess in 1961). It follows the
on the brink of further orchestral development, it is conventional three movement structure of a sonata‐
interrupted by the opening discords which introduces form allegro, slow movement (Larghetto) and Rondo and
the transition from the instrumental to the vocal. In a shows some characteristic features of Beethoven’s later
short recitative for baritone (whose words were written style. The numbering of the first two mature piano
by Beethoven himself, the only occasion he is known to concerti, No.1 in C major (Op.15) and No.2 in B flat major
have done so) the preceding orchestral conception of (Op.19), reflects the order of their publication rather
the music is literally dismissed: “O Freunde nicht diese than their composition The first version of a B Flat
Töne” (Oh friends, not these sounds!) before the soloists concerto dates from around 1790 and although nothing
and then the choir relaunch the theme, this time with survives of this work beyond a single detached page
Schiller’s words affirming the sentiments of universal from a full score, its thematic material shows it to be
brotherhood that were so dear to Beethoven’s heart. prototype version of the work as it is known today.
Beethoven made substantial revisions to it in 1793 after
he had arrived in Vienna and sketches of a cadenza for
this version suggest that it was performed at this time.
He rewrote it substantially over the following years,
IV. PIANO CONCERTOS revising the Adagio and replacing the Finale with an
When the 22‐year‐old Ludwig van Beethoven left his entirely new movement (the earlier one survives as the
native city of Bonn for Vienna in late 1792 ‐for the Rondo in B flat major WoO6) while at the same time
second time, incidentally, and this time to stay‐ he working on a new concerto in C major. It was probably
initially caused a furor as a virtuoso pianist of this latter work which he performed at his public debut
exceptional stature in the Austrian capital, regularly in Vienna in 1796 since it was advertised as “entirely
outplaying his opponents in promotional competitions. new”. The surviving autograph orchestral score of the B
This caused a sensation and was also intimidating: "He flat concerto dates from 1798 when Beethoven revised it
isn't a man, he's the devil himself!" exclaimed Abbe once again for a concert in Prague and a new score of
Gelinek, one of the most celebrated masters of the C Major work was made in 1800 probably on the
improvisation on the piano of the time, after being occasion of his first public concert (although it is not
defeated by Beethoven at one of these contests. "Satan known for certain which work he played on that
is in that young man," said another. "I have never heard occasion). Later that year Beethoven published the C
anyone play like that.. not even Mozart. He produces major concerto as Op.15 with the B flat work following it
music of difficulty and drama on the piano the like of into print in 1801 thus fixing their numbering in the
which we have never dared dream." wrong order. Beethoven only wrote out the piano part
for the B flat concerto for its publication as he would
The account by Carl Czerny, a pupil of Beethoven's, has have played it from memory in performance and he took
become famous: when Beethoven played the piano, this opportunity to make further modifications to the
"there was not a dry eye in the audience, while many first movement (the earliest part to be composed) on
burst into tears; for there was something wonderful in the 1798 full score. However as it proved too difficult to
his expression, quite apart from the beauty and transfer these amendments to the already existing
originality of his ideas." And it was precisely this individual orchestral parts, the work was published
wonderful expressiveness with which Beethoven's piano without them and so the B flat concerto as it is known
concertos marked the turn of the nineteenth century today is a mosaic of the different stages of its
and heralded a new era of the piano concerto. Some of development over a ten year period.
Beethoven's contemporaries reacted to these new
sounds with consternation, but at the same time were
almost beside themselves: they admired the eccentricity PIANO CONCERTO NO.1 IN C OP.15
and effusiveness of the composer's playing and were Beethoven played the C major concerto the first version
overwhelmed by the as yet unprecedented "violence" in of this work, to be precise ‐ at his first public
changes of key in his music. This kind of performance, performance at the Academy concert given by Vienna's
this kind of music no longer found fulfilment merely in Society of Musical Artists (Tonkunstler‐Societat) on
March 26, 1795. According to contemporary reports, the
24

last movement was completed only two days before the apparently still not satisfied, revising the work in 1794
concert, leaving practically no time for rehearsals. and 1798.
Moreover, it transpired immediately before the concert
that the piano had been tuned a semitone too low. "Consequently, Beethoven worked on the composition
Beethoven, however, did not allow this to interfere with for approximately a decade," concludes the Beethoven
his performance: instead of C major he played his part a researcher Konrad Kuster. "In the compositional process,
semitone higher, in C sharp major. Researchers assume this is not unproblematic; it presupposes that one recalls
that Beethoven revised the work several times in the the reasons behind compositional decisions taken in the
following years. He repeatedly performed the piece at past, reconsiders former judgements, and attempts to
concerts in Berlin, Bratislava and Budapest, and also find a balance between new ideas and the substance
played it at a charity concert in Vienna in December that has already been recorded in writing."
1796. He had the composition published as Op.15 in
March 1801 ‐ nine months before the B flat concerto; The B flat major concerto lacks neither substance nor
this is why it bears the number one. new ideas ‐ although Beethoven offered it to his
publisher for only ten ducats "because I am not
The first movement, Allegro con brio, again begins with describing it as one of my best." The work is audibly a
an extended orchestral introduction featuring a brilliant, successor of Mozart’s late piano concertos. The first
march‐like theme reminiscent of the "military" concerto, movement opens with a long, richly developed
a popular genre of the day. However, while trumpets orchestral introduction featuring cheerfully dotted
and horns play an important role in this movement, its rhythms. In the very first caesura (bar 40) Beethoven
cheerful, youthfully fresh mood is entirely in the surprises the listener with one of his "violent"
Mozartian tradition. The energetic, virtuoso writing of modulations by unexpectedly changing to the key of D
the solo part, with its extravert accents, certainly heralds flat major. It is also interesting that the solo piano, at
a new world of musical expression. least in its first entry, does not appear to adopt any
elements of this theme. Indeed, the motifs in the solo
The slow middle movement, a Largo, is written in the and orchestral voices are only vaguely related.
gentle key of A flat major. It is a movement whose
intimacy is almost reminiscent of a chamber Serious sounds predominate in the E flat major Adagio, a
composition; the wind section has been reduced to two movement full of lyrical nobility and meditative calm. It
clarinets, two bassoons and two horns; the first clarinet is divided into two sections, of which the second is a
comes to the fore as a solo voice several times. In formal varied repetition of the first, featuring rich figurations
terms, the movement is again divided into two sections, gallantly intertwined with the thematic lines. Beethoven
followed by an extended coda whose lugubrious minor thought up something really special to conclude the
harmonies already seem to anticipate the music of movement: a kind of solo recitative in which the piano
Romanticism. The solo piano opens the final movement expresses itself in an exclusively monovocal, yet highly
in a whispering piano, "Ieggermente", but with expressive, "musical speech" ‐ and "con gran
amischievous sense of humour ‐ a sparkling Allegro espressione" at that. The final rondo strikes an even
scherzando, with orchestral tutti full of powerful vitality more high‐spirited note, with recalcitrant. syncopated
and bold impetuosity. Three main thematic ideas accents and a brilliant tone. These sforzati, which "brush
succeed one another, beginning with a jocular theme up" the listener "the wrong way", lend the music a
featuring thirds, followed by a popular melody; and as a humorous impact. And the beginning of the coda really
third theme, a minor section featuring "Hungarian" brings a smile to the listener's lips (after bar 260),
rhythms and jumps in the left hand covering intervals of featuring the same recalcitrant theme as at the
tenths. This was unusual and caused such confusion beginning of the movement ‐ this time virtuously
among Beethoven's contemporaries that one reviewer emphasized and phrased in a mannered fashion.
described the work as a "pianoforte concerto
occasionally verging on the bizarre."
PIANO CONCERTO NO.3 IN C MINOR OP.37
David Zinman sees Piano Concerto No.3 in C minor,
PIANO CONCERTO NO.2 IN B FLAT OP.19 Op.37 ‐the only one in a minor key‐ as a kind of "Eroica"
The B flat major concerto bears the number 2 because it for piano and orchestra. Just as Beethoven opened the
was printed and published in December 1801 as door to an entirely new symphonic world with his third
Beethoven's second. However, chronologically speaking symphony, the Eroica, he also broke new ground with his
it is Beethoven’s first piano concerto, if we ignore the third piano concerto. Most of the work was written in
concerto in E flat major WoO4 written in Bonn in the the summer of 1800, although there are sketches for the
composer's youth, of which only the solo part has piece that date back to 1797. The premiere performance
survived. The B flat concerto also dates from naturally with Beethoven at the keyboard‐was given on
Beethoven's years in Bonn. As recent research has April 5, 1803 at a charity concert in Vienna's
shown, Beethoven probably wrote an initial version of Burgtheater.
this piece as early as 1787/89. In 1793, shortly after his
arrival in Vienna, Beethoven amended the concerto The C minor concerto not only occupies a central
(adding, for example, a new final rondo) and performed position among the five (or seven) piano concertos, but
it for the first time for a private audience. He was also represents a turning point. This can be deduced
25

from a letter Beethoven wrote to the publishers extensive orchestral introduction. In the development
Breitkopf & Hartel in which he offered his first two piano section, the dramatic, emotional intensity increases; the
concertos for sale with the remark, "not yet my best harmonic transitions result in the distant key of C sharp
examples of the genre." New‐and "better" aspects of the minor, which in turn leads to a reprise, introduced by the
third piano concerto are the increased importance piano with a triumphant fortissimo.
accorded to the melodic qualities of the solo instrument
and the greater, "symphonic" weight lent to the The second movement, Andante con moto, is just as
orchestra. unconventional as the beginning of the first movement it
is unexpectedly brief, consisting of an extremely abrupt,
The first movement, Allegro con brio, launches directly intensely contrasting series of motifs and melodies,
into the main theme, whose sharply rhythmical performed alternately by the solo piano and the
character immediately impresses itself on the memory. orchestra, which has been reduced to the string section.
The second theme, with its curving, lyrically cantabile The orchestra and soloist talk at cross purposes, the
line, provides the greatest imaginable contrast. After the strings in hard. dotted. forte rhythms. the solo piano
orchestral introduction, which extends over 10 bars, the molto cantabile and una corda in a chorale‐like
solo instrument enters with a series of vehement chords: movement, a confrontation between a "dismissive" and
there can be no doubt that a real "star performer" has a "beseeching" voice. Certain theorists and performers
just entered the stage and must now measure and assert saw this as the contrast between the pleading Orpheus
himself in a dialogue with the orchestra. Particular and the dismissive Furies, while others referred to Jesus
attention should be paid to the solo cadenza: "A pure before Pilate. After only five pages of score, the
joke, elementary humour," says Yefim Bronfman. "full of movement is extinguished in a dying pianissimo.
the sheer enjoyment of the unexpected and the
astonishing." The final movement, a Rondo, also begins pianissimo,
but in an elastic, march‐like rhythm, soon swelling to an
The Adagio in E major is a calm movement of meditative ecstatically uplifting. Brightly liberating concertante
simplicity. The solemn theme introduced by the solo performance.
instrument develops into a gently rippling piano part
whose glittering thirds and arpeggios outshine the
accompanying orchestra. The vitality with which the solo PIANO CONCERTO NO.5 IN E FLAT OP.73
piano plunges into the final movement, a Rondo, is all "The excessive length of the composition diminished the
the more thrilling. Thanks to "unruly" accents placed on total effect that this glorious product o( the mind would
unaccented beats, the theme is particularly striking. An otherwise certainly have elicited," wrote one reviewer
inserted fugato leads to an episode in E major (a hint at after the first performance of Beethoven's Piano
the key used for the Adagio), and the movement ends Concerto No.5 in E flat major, Op.73, which was
with a radiantly purposeful presto coda in six‐eight time. performed at Vienna's Kärtnertor Theatre on Ash
Wednesday of the year 1812. In a way he was right: the
fifth is Beethoven's most substantial piano concerto, and
PIANO CONCERTO NO.4 IN G OP.58 in the "Eroica" key of E flat major, truly one of the "most
Beethoven's fourth piano concerto again takes us to a glorious products of the mind" ever created. However, it
new world. For Yefim Bronfman, it is the concerto "with certainly cannot be said that it did not achieve a "total
the broadest emotional spectrum. and at the same time effect." On the contrary, it is the most dramatic of the
possibly the most dramatic." The piece was composed in five piano concertos and one of the most popular in the
the years 1805‐06. It is the period in which the violin genre.
concerto and the fourth symphony were written, and
the latter was first performed together with the fourth This is also acknowledged outside the German‐speaking
piano concerto at Prince Lobkowitz's palace in Vienna in countries, where Beethoven's fifth piano concerto is
March 1807. Again. Beethoven sat at the piano. "A known as the "Emperor," "L'Empereur" and
terribly difficult new concerto for pianoforte. Which "Imperatore" ‐ though the sobriquet is not authentic and
Beethoven performed with astonishing skill in the fastest is attributed to Beethoven's friend, the composer and
tempi," wrote a reviewer of the second performance of publisher Johann Baptist Cramer. it is nonetheless
the work. accurate: no other piano concerto begins with such
majesty and splendour. The full orchestra intones a
The fourth piano concerto begins with an Allegro bright chord three times, followed by three brilliant
moderato, and it begins like no other concerto before it: cadenzas from the solo piano before the principal theme
the piano softly introduces the principal "dolce" theme is introduced by the orchestra. At the climax of the
in five solo bars. What makes this theme interesting are exposition, the orchestra and the solo piano "compete"
the quavers, which are repeated three times: they are as equal partners in a passage that features firmly
vaguely reminiscent of the throbbing, momentous dotted rhythms. Not even during the solo cadenza does
theme of the first movement of the fifth symphony, and the orchestra remain completely silent, entering into a
manuscripts prove that the first themes of these works, wonderfully harmonious dialogue with the piano. In
which are otherwise so different, were indeed composed none of his earlier piano concertos did Beethoven
at the same time. After the introductory piano solo, the succeed so masterfully in merging solo and symphonic
orchestra takes up the theme, which swells into an passages into a single entity.
26

A completely different, meditatively introspective one of these, and he has a very special relationship with

atmosphere predominates in the slow movement, which this work. It strikes him that the melodic idiom of this
opens with a dreamy melody in the muted strings. The piece is reminiscent of spoken language. "Accordingly,
solo piano replies with a series of sustained cantilenas the two cantabile sections in the first movement must
accompanied by triplets. Even at the emotional climax of be clearly structured and phrased to correspond with the
the movement, the dynamics do not exceed a simple harmonies. This aspect in particular has been somewhat
forte, fading away in a mood of quiet rapture. The neglected in the way the work has been performed in
movement concludes with a single note ‐ a B that is recent decades. Performers went to great lengths to
gently "pushed down" a semitone by the horns, followed broaden these melodies; it reached a point where the
by the solo piano dreamily intoning the theme of the individual parts no longer corresponded with each
finale. A mood of mysterious tension prevails until the other." Christian Tetzlaff considers this expansive pathos
piano explodes with impetuous effervescence ‐ out of place: "On the contrary, Beethoven's violin
introducing a hearty, frolicsome waltz in six‐eight time concerto is a very cheerful, sometimes almost naive
that dominates the entire final movement. The high‐ work. That doesn't mean to say that the piece doesn't
spirited, virtuoso playing is accentuated by syncopated have its dark, lugubrious moments, but the basic mood is
accents. naively light‐hearted."

Surprisingly, the violin concerto is introduced by four
single drumbeats, and the timpani continue to play a
dominant role from then on. "This creates a striking
V. VIOLIN MUSIC duality. On the one hand, there are the beautifully naive
VIOLIN CONCERTO IN D OP.61 melodies, that should ‐if you please‐ also be played that
"In those days, Beethoven was merry, jocular, cheerful, way; and on the other hand, there is the unrelenting
full of the joys of life, amusing, and not infrequently drum motif, which, with its military associations,
satirical. He had not yet been afflicted by any physical represents the absolute opposite. Throughout the first
ailment, nor had the loss of that sense so utterly movement, at least, this conflict between two opposing
indispensable to the musician yet darkened his days." emotional worlds is a recurrent theme. Moreover, the
This is how Ignaz von Seyfried remembers the composer drums make it quite clear that we are playing a piece in
in his memoirs of the year 1806, perhaps Beethoven's four‐four time. By contrast, the lines of the melody are
most prolific year of all, when he wrote the Fourth Piano written in minims, and that is how you would like to play
Concerto, the Violin Concerto and the Fourth Symphony it; but time and again, the drumbeat forces you to revert
in succession. to four‐four time."

Beethoven wrote the Violin Concerto in D major, Op.61 ‐ As is generally known, Beethoven later transcribed his
his only one, unless we include a fragmentary work in C violin concerto as a piano concerto, for which he wrote
major dating from his Bonn period‐ for the violinist Franz some additional solo cadenzas. For his own particular
Clement, a talented musician who played in the first reasons, Christian Tetzlaff has in turn transcribed these
violins of the theatre orchestra and was equally popular original piano cadenzas for the violin: "In my belief, the
with Viennese audiences. If we are to believe a solo cadences by Fritz Kreisler that are usually
newspaper report dating from 1805, his musicianship performed are alien ‐ in purely harmonic terms, but also
was characterized by an "indescribable delicacy, in terms of the concept and the idea behind them."
precision and purity" of tone. One could almost believe According to Tetzlaff, Beethoven pursues an entirely
that this description ‐and Seyfried’s splendid different approach in his original piano cadenzas. "He
characterization of Beethoven‐ also referred to the has the solo kettledrum play with the piano, but much
concerto, which is undoubtedly his most cheerful work faster than in the basic tempo. That intensifies the
and abounds with light‐hearted melodies. Only at the military associations very considerably, and is also a
first performance of the piece, on December 23. 1806, central aspect of the whole of the first movement"
nobody seems to have noticed this. Perhaps the highly
unusual circumstances also had something to do with it:
Beethoven had completed the piece only two days ROMANCES FOR VIOLIN
earlier, so Franz Clement practically had to sight‐read To this day it has not been ascertained precisely when
the solo part. A contemporary reviewer praised his and for what occasion Beethoven composed the two
playing, but Beethoven’s work was considered Romances for Violin and Orchestra. Romance No.1 in G
excessively lengthy, encumbered by tedious repetitions: major, Op.40 was published in 1803; Romance No.2 in F
"We fear that, if Beethoven continues along this path, major, Op.50 two years later. Contrary to this
both he and his audience will fare ill." Indeed, it took numbering, the F major Romance was written before the
some time before Beethoven's Violin Concerto G major piece. Whether they were conceived as
established itself primarily thanks. Finally, to the violinist individual concertante pieces or as the slow movements
Joseph Joachim, who performed the work in a number of of planned, but never completed, violin concertos must
European cities around the middle of the nineteenth remain a subject of conjecture. However, a connection
century. Since then, it has been considered the epitome with the early C major concerto written during
of the classical violin concerto, as popular with Beethoven's time in Bonn can definitely be discounted.
audiences as with the great violinists. Christian Tetzlaff is Beethoven announced the two pieces to his publisher
27

Johann Andr" as "two adagios far violin with full overshadowed by the other Beethoven concertos.
instrumental accompaniment." Compared with the piano concertos, the piano part in
the Triple Concerto is considered to be too easy; the two
Moreover, in view of their length and substantial musical string parts are more demanding, but not really
content, the two Romances, which are particularly "rewarding”. Certain passages are also considered to be
popular with audiences, are more likely to have been excessively protracted.
conceived as self‐contained, individual movements. The
unconventional opening of the G major Romance is However, the facts are somewhat different. As the three
particularly surprising: the solo violin launches into the solo instruments are given more or less equal weight
theme, written in double stops. without any orchestral (with a slight preference for the violoncello) and
accompaniment; only later does the orchestra make its Beethoven is concerned that each instrument should be
entry. The rest of the piece is also characterized by a shown to advantage, one after another, the musical
tense inner dialogue, while the noble melodies and progression is more time‐consuming. Critics have
uncomplicated levity of the F major Romance are more complained that this makes the piece excessively
reminiscent of the virtuoso pieces typical of the period. lengthy, ignoring the fact that it lends the work more
colour. In order to avoid drowning out the lower‐
sounding cello voice, the piano part is kept light and
transparent; Beethoven also writes mainly for the top
cello string, which has an intense sound, thus enabling
VI. TRIPLE CONCERTO IN C OP.56 the instrument to alternate with the violin on equal
The Concerto for Piano, Violin, Violoncello and Orchestra terms, as it were.
in C major Op.56 is unique in musical literature, and
Beethoven was well aware of this: as he proudly wrote The opening movement ‐ incidentally the longest in
to his publisher, the combination of a piano trio with an Beethoven’s instrumental concertos ‐ begins pianissimo,
orchestra was entirely new. And new it was indeed ‐ gradually swelling to the festive, march‐like tutti of the
although parallels can certainly be drawn between principal theme. The brisk, thematically concise writing is
Beethoven's Triple Concerto and the baroque tradition typical of Beethoven. The second movement, a relatively
of the concerto grosso or the early classical genre of the short but exquisitely charming largo, is similar to an
sinfonia concertante. However, of far greater intermezzo and depends entirely on the varied and
significance than such historical references are the repeated melodic line in the solo parts. The transition to
innovations that Beethoven introduces in his Triple the finale is a novelty. For the first time, Beethoven
Concerto. As already mentioned, the main innovations "links" the second and third movements so that the
are his choice of solo instruments and the importance largo leads into the finale ‐ a polonaise ‐ without a break:
accorded the orchestra, which ‐as in the third piano a compositional practice that he is also to retain for the
concerto, first performed a year earlier‐ is elevated to fourth and fifth piano concertos.
the status of an equal, namely symphonic partner of the
three solo instruments.

Beethoven thus leaves all conventional models far
behind him. This is also true of his demonstratively VII. CHAMBER MUSIC FOR WIND INSTRUMENTS
individual treatment of the three solo instruments, Beethoven wrote very little music for wind instruments
already apparent in the soloists' first entry in the and most of his compositions for them are from
opening movement: the cello takes up and expands the relatively early in his career. Many were not published
main theme, followed by the violin in a second entry, with an opus number, and most of those that were
and the theme is finally echoed by the piano, here even appeared long after the time of their composition and
in three simultaneous octaves. Incidentally, this therefore have misleadingly high numbers ‐ for example,
sequence of the three instruments is maintained for the the Op.71 Sextet for clarinets, horns and bassoons of
entire duration of the concerto. Each instrument has the 1796, the Op.81b Sextet for two horns and strings, the
opportunity to alternate individually with the orchestra; Trio in C major Op.87, both of 1795, and the Octet
two solo instruments can also interact as a "pair"; all Op.103 of 1793 (published posthumously). This was one
three even play together in a threesome. as in a piano of the works Beethoven sent back to Bonn after his first
trio. This was new, and the audience was indeed year in Vienna to demonstrate the progress of his
perplexed when the work was first performed in Vienna composition lessons with Haydn (the Elector however
in May 1804. There is no indication that the concerto was unimpressed claiming that the work was an old one)
was performed a second time during Beethoven's and was later used as the basis for the String Quintet
lifetime. Op.4.

For a long period, the piece did not enjoy the best Certain works such as the Trio for bassoon, flute and
reputation among Beethoven's instrumental concertos. piano WoO37 of 1786 and the Trio Op.87 were written
In Paul Bekker's opinion, the Triple Concerto was one of for gifted amateurs. The first was composed for the von
"the group of Beethoven's works that are lost to the Westerhold family in Bonn and Count von Westerhold,
present" ‐ as he wrote in his 1911 biography of chief equerry to the Elector, would have taken the
Beethoven. Even today, the Triple Concerto is still a little bassoon part, his son the flute and his daughter Maria,
28

with whom the 14‐year old Beethoven was in love, the whole, the Septet can be considered a transitional piece,
piano part. Op.87, for the unusual combination of two bridging the gap between the light tone of Haydn and
oboes and cor anglais, was written for the brothers Mozart's serenades and Beethoven's first symphony ‐ a
Johann, Franz and Philippe Teimer for whom he later last, perfectly formed composition in the phase leading
composed a set of variations on “La ci darem la mano” to his symphonic oeuvre.
for the same instruments. © Werner Pfister

The Op.17 Sonata of 1800, on the other hand was
written for the virtuoso Johann Stich (or Giovanno Punto
as he Italianised his name) and in great haste ‐ overnight
if one is to believe the testimony of Ferdinand Ries ‐ IX. PIANO TRIOS
which may explain why there is no slow movement but During his first few years in Vienna, Beethoven published
only a 17 bar section preceding the finale. almost nothing, wishing to wait until he had amassed a
large number of significant works before introducing
himself to the Viennese public as a composer. In 1793 he
had issued the variations on “Se vuol ballare” from The
Marriage of Figaro as his Op.1 but this was simply to
VIII. SEPTET IN E FLAT MAJOR OP.20 forestall his rivals whom he suspected might try to
Beethoven's varied range of works for chamber produce something similar. During 1794 and 1795 he
ensemble is in no way artistically inferior to his worked on several compositions including a set of three
symphonies or instrumental concertos. On the contrary: piano sonatas, a new piano concerto, a string trio and
throughout his life, Beethoven explored this genre in a some extended songs, but it was the set of three trios
wide variety of forms and combinations ‐ duo sonata and for piano, violin and cello that he decided to launch his
trio, quartet and serenade, quintet and octet, sextet and career in the spring of 1795 with. He had already written
septet. It is interesting that he only employs wind two works for these forces in 1792, a trio (WoO38) in the
instruments in his early chamber compositions; later, traditional three movement format and a set of fourteen
Beethoven was to concentrate entirely on the strings variations (Op.44), both in E flat, and may have begun
(particularly the string quartet) and the piano. The drafting what was to become the Op.1 trios while still in
Septet for Violin, Viola, Clarinet, Horn, Bassoon, Bonn. Mozart and Haydn had produced several piano
Violoncello and Double‐Bass in E flat major Op.20 is also trios ‐ indeed by 1794, Haydn had already written thirty
one of these early works, and is one of the most eight (and was to produce seven more in the next few
important. as its unusual length ‐ six movements with a years) and Beethoven may have calculated that his
duration of just over forty minutes ‐ indicates. In stylistic original and individual treatment of this popular form
terms it is reminiscent of the divertimenti, serenades would achieve the impact he desired for his debut. In
and wind ensembles that had already been so popular in Haydn’s hands, the piano trio had been essentially a
Mozart's day. In other words it is gallant, light music; the vehicle for the virtuoso pianist supported by a less
difference being that in this work Beethoven succeeds in prominent violin part with the cello relegated to a virtual
combining the "gallant" with the "erudite." continuo role. Beethoven not only placed the
instruments on a more equal and balanced footing, he
True to the classical tradition of the serenade, the made the trio format more symphonic in structure with
opening movement (in sonata form) is preceded by a the addition of a fourth movement and invested it with a
slow introduction. The second movement, an adagio greater degree of complexity and seriousness than was
cantabile, is strongly melodic, and Beethoven constantly traditionally expected of it. Haydn was apparently
redistributes the roles of soloist and accompanist among disconcerted when he first heard the Op.1 trios at a
the seven instruments. The third movement, an almost private gathering at Prince Lichnowsky’s and is supposed
old‐fashioned‐sounding minuet, corresponds with the to have advised Beethoven not to publish the third in C
fifth, a vivacious scherzo, and between the two ‐ the minor, the most dramatic of the set, and the one
fourth movement ‐ is a series of highly inventive Beethoven considered to be the best. In fact, Haydn
variations. The finale again begins with a slow could not have been able to judge the works prior to
introduction, this time "alia marcia," before launching their publication as he was abroad in England at the time
friskily into the spirited presto with a plethora of sixths of their composition but the story no doubt accurately
and triplets. reflects his immediate reactions to the originality of his
former pupil’s conception. Haydn’s misgivings about the
The work was composed in 1799, parallel to the famous public’s capacity to understand these works proved
Pathetique piano sonata. It is dedicated to the Austrian groundless as the published edition attracted a large
Empress Maria Theresia and was first performed at number of subscribers, including most of the Viennese
Beethoven's first own "Akademie" concert staged at musical cognoscenti and Beethoven made a substantial
Vienna's Burgtheater on April 2, 1800. Besides the profit from the first of his compositions which he
Septet, Beethoven’s first symphony was also performed considered worthy of an opus number (that honour
for the first time; Beethoven played his first piano having been removed from the Figaro variations which
concerto, and as if that were not enough, some arias now languishes as WoO40).
from Haydn's Creation were performed, as well as a
Mozart symphony. In terms of Beethoven's oeuvre as a
29

The two Op.70 Trios were begun in August 1808 “Bei Männern” (WoO46) from Die Zauberflöte of 1796,
immediately after the completion of the Sixth Symphony 1797 and 1801 respectively, Beethoven did not write for
and the prominent and expressive role given to the cello the cello again until 1807 when he began the Op.69
in both trios is possibly a by‐product of the composition sonata in A major dedicated to his friend Baron Ignaz
of the Op.69 cello sonata earlier in the year. The decision Gleichenstein. Like the Op.5 sonatas, it has no proper
to compose a set of trios rather than the sonatas or slow movement although there is a short 18 bar Adagio
another symphony as he had originally suggested to his section between the second movement Scherzo and the
publisher, seems to have been prompted as much by the finale.
commercial consideration that such works were a scarce
commodity than by any creative impulse to do so. Op.70 Another nine years were to pass before Beethoven
No.1 in D major is in three movements and the returned to the cello, this time at the request of his
mysterious D minor Largo with its atmospheric friend and confidante Countess Marie Erdödy. In 1808,
tremolandos and trills has led to it being known as the she had played a major part in organising the payment of
“Ghost Trio”. Appropriately, one of the musical ideas on an annuity to Beethoven by Archduke Rudolph and
which the movement is based appears among sketches Princes Kinsky and Lobkowitz, which was designed to
for the Witches scene of an unfinished “Macbeth” relieve him of financial pressures (although in reality it
operatic project. The second trio in E flat returns to the was some years before this was assured). However soon
four movement format whose minuet‐like Allegretto afterwards, Beethoven quarrelled with her (a recurring
third movement is full of Schubertian lyricism. feature of his tempestuous personal life) and it was only
Beethoven’s final piano trio, Op.97 in B flat, known as in 1815 that they were reconciled – the olive branch on
the “Archduke” from its dedication to his pupil and her part being the gift of thirty four bottles of wine.
patron Rudolph, was completed in 1811 and is the Beethoven was happy that relations had been re‐
grandest of the works Beethoven composed for these established with Erdödy and her young family, of which
instrumental forces. Unusually, the Scherzo and Trio are he was very fond, and possibly it was these personal
placed before the Andante cantabile slow movement associations that prompted the writing of this deeply‐felt
whose theme and variation structure follows the usual work in a period otherwise devoid of creativity.
pattern of an increasingly elaborate subdivision of the
beat in each successive variation. After an extended Beethoven wrote the sonatas with the cellist Joseph
coda, the music fades away before a jaunty figure leads Linke in mind. He had recently become part of the
straight into the Rondo finale. It was a disastrous Erdödy household as music tutor to the children
performance of this piece, in which Beethoven found following the disbanding of Prince Rasumovsky’s private
himself unable to gauge the dynamics and audibility of quartet in which he had played after the disastrous fire
his playing because of his increasing deafness, that which destroyed Rasumovsky’s palace. Beethoven was
finally prompted him to abandon his career as a public therefore well acquainted with him and his playing style
performer (at least in ensemble pieces). and may have consulted him on matters of technique.

Op.102 No.1 in C major is a two movement work which
follows the pattern of the previous sonatas in omitting a
slow movement although, as in the Op.5 sonatas, it
X. SONATAS FOR VIOLIN AND FOR CELLO opens with a slow introduction begun by the
The two Op.5 sonatas (in F and G) were composed unaccompanied cello (like Op.69). On this occasion, the
during a visit to the court of Frederick II in Berlin and second Allegro is also introduced by an Adagio passage
were performed by Beethoven with one of the court after which the opening bars are recalled in a fashion
cellists, Jean Louis Duport (although Frederick was that looks forward to the Op.101 piano sonata and
himself a keen and competent cellist). These sonatas ultimately the Ninth Symphony.
were the first to be composed for this combination of
instruments for some time and break new ground in Op.102 No.2 in D major is a three movement work
placing both players on an equal footing rather than which, at last, includes a full scale slow movement
subordinating the keyboard to a continuo role. Each has before a massive fugal finale which points the way
only two movements ‐an Allegro and Rondo‐ and the towards his fascination with that form in the late period
absence of a slow movement may have been designed works.
to address the problem of the dynamic imbalance © David Moncur
between the two instruments which would have been
accentuated in extended adagio passages (although both
sonatas open with a substantial slow introduction).
Beethoven’s accomplishment as a composer for the cello
is underlined by the fact that Duport incorporated many XI. SONATAS FOR PIANO AND VIOLIN
of the techniques found in these sonatas in his Although Beethoven's ten sonatas for this instrumental
instructional manual for the cello. combination are, according to the composer's
specification, "For Piano and Violin," that directive
Apart from the three sets of variations on “See the should, in all fairness, be considered a convention: far
Conqu’ring Hero Comes” (WoO45) from Handel’s Judas removed from the early sonatas for keyboard with
Maccabeus , “Ein Mädchen oder Weibchen” (Op.66) and accompaniment of obbligato violin, everyone of
30

Beethoven's works is a bonafide duo in every sense, and The discussions of the sonatas in this cycle are arranged
in fact in the Kreutzer Sonata, he directs both into three groups for Op.12; Op.22 and 23; and Op.30,
protagonists to play in a concertante style. with the last two pieces, the Kreutzer Sonata, Op.47 and
No.10 in G Major, Op.96 as individual entities.
The very fact that all but the last two of these sonatas © Harris Goldsmith
were composed in groups may well explain their
wonderfully diverse characterization and stylistic
individuality: as a rule, when Beethoven sent a group of THREE SONATAS OP.12
works of the same genre to one of his publishers (and, This triptych was composed circa 1798 and sent into the
let us admit, sometimes to several at the time to see world by the 29‐year old Beethoven as big and
which offered him the best price!), he usually felt representative works. It is evident from the diverse
obliged to make each a strongly characterized entity. range of style and ideas that these early masterpieces
Thus, in the three sonatas of Op.12 (composed circa display, one in the group is a grandly scaled effort; one is
1798), as well as those of Op.30 (vintage 1802), we find an intentionally more diminutive essay; and one which
each set includes a work of truly grand scale, one of defies easy classification. All three Sonatas follow the
essentially lyric character and one which defies easy general synopsis of a first movement in sonata form a
classification. slow movement and a Rondo. But each is markedly
different in mood, emotional appeal and internal
For a pianist, Beethoven had an amazingly thorough structure. The composer dedicated his Op.12 to Antonio
background in violin technique. His first teacher was his Salieri (who was Beethoven's favourite mentor‐pace
father, who earned a meagre living as a tenor in the Haydn, Albrechtsberger, and particularly, the bum rap
Bonn Electoral chapel: the four‐year‐old Ludwig was made notorious by the play and film "Amadeus", and the
instructed by him on both the clavier and violin. For a Rimsky‐Korsakov opera "Mozart and Salieri”).
brief period he was taught violin and viola by a distant
relative, Franz Georg Rovantini, who lived in the same The proofs were sent for correction to one of
house with Beethoven and died there in 1781, at the age Beethoven's publishers, Artaria and were printed
of twenty‐four. By this time the young composer was between December 1798 and January 1799. In June, a
eleven, and his main interests in performing were on the review appeared in the Allgemeine Musikalische Zeitung
clavier and the organ. and a perplexed critic wrote: "Herr Beethoven goes his
own way, and what a bizarre way it is! Learned, learned
By 1785, Beethoven was serving his second year as and always learned‐and nothing natural; no song. The
assistant organist in the Electoral chapel. His violin sonatas are overloaded with difficulties: Yes, to be
studies at the period were with a good friend of the accurate, there is only a mass of learning here, without
family, Franz Ries. (Beethoven subsequently taught good method, and an obstinacy which fails to interest us.
Ries's son Ferdinand clavier in Vienna). In Vienna, while A striving for strange modulations, a heaping of
studying with Albrechtsberger, Beethoven in 1794 began difficulties until one loses patience or enjoyment."
taking violin lessons again, this time with Ignaz However, several month later, a second review in the
Schuppanzigh (1776‐1830; he is mostly remembered for same publication (from the same critic perhaps) is more
being the primarius of the Rasoumovsky Quartet conciliatory: "It is not to be denied that Herr v. B., is a
founded in 1808 and giving the first performances of man of genius; possessed of originality ... “. The critic has
several of the master's chamber music). Finally, there tried to accustom himself more and more to
was Wenzel Krumpholz, pupil of Haydn and a former [Beethoven's] manner and has learned to admire him
violinist in the Esterhazy orchestra, who was an more than he did at first.
indefatiguable promoter of Beethoven's compositions.
Beethoven was annoyed but certainly not devastated:
Still and all, Beethoven was a pianist, a virtuoso of the "Let them talk" said the composer. "They will certainly
highest calibre and an incomparable improviser. As for never make anybody immortal by their twaddle; nor will
his abilities to play the violin, even after the many they rob of immortality those whom Apollo has
periods of instruction, of contact with professionals and favoured." In the spring of 1801, he twitted Breitkopf
such fine amateurs as Heinrich Eppinger and the banker und Härtel, another of his publishers, and incidentally
Häring, and after his own practical four‐year experience the owner if the Allgemeine Musikalische Zeitung: "You
in the Bonn orchestra, he is supposed never to have should recommend to Mssrs, your critics greater care
been able to perform on it acceptably! Karl Amenda, one and wisdom."
of Beethoven's closest friends, relates that he once
persuaded the composer to play the violin for him, and
that the result was disastrous. SONATA NO.1 IN D MAJOR
The first movement Allegro con brio opens with four
Ergo, for all the equality of these works, Beethoven bars of unison upward and downward arpeggios as a call
tailored his piano parts to his own virtuosity and he to order, immediately followed by its first subject,
himself played in the premieres of nine out of the ten comprised of flicked upward octaves against scalar
pieces in the cycle until his deafness put a finis to his passages. A running passage in sixteenth notes derived
performing career (his last, unfortunate appearance at from aforementioned scalar elements and finally, FF
the piano had been in 1814, playing the Archduke Trio). upward scales, leads to the gentler second theme stated
31

first by the piano and then answered by the violin. An The Andante piu tosto Allegretto consists of a wistful
immediate repetition of this idea, embellished by two part melody in two strains, the first stated by the
triplets, then leads to the subsequent third theme group piano alone, repeated with the violin accompanied by
based on triplets from the piano against the flicked the keyboard instrument. The answering second strain in
octaves of the opening idea, heard again from the violin. C Major, again by piano alone, is reiterated with violin
Two antiphonal shashing chords and upward sixteenth accompanied by the piano. A central second theme in F
note scales conclude the sizable exposition in A major. Major is followed by a four bar transition back to a
The development begins in F major, based on the closing reprise of the movement's first part in A minor, and a
chords and the ingredients of the first subject. In its last coda.
stage, the working out utilizes a build‐up from the
movement's opening theme. The recapitulation is The (for Beethoven) mild mannered Rondo, Allegro
without notable incident, and there is no coda. piacevole, has a few moments of bracing upward
arpeggios from the piano, and a D major second episode
The Andante con moto second movement is a theme with a new insistently reiterated motif.
with four variations. Its tema in two parts (strains) is first
stated by piano alone and the written out repetition of
this first strain is sung by the violin accompanied by the SONATA NO.3 IN E FLAT MAJOR
piano. Both strains are repeated in the same manner. The E flat Sonata, as you will see, is the "grand" member
of the Op.12 group. Its Allegro con spirito has a piano
In Variation I, the piano predominates and both strains part of commanding brilliance (although the fiddle is
are repeated verbatum. Variation II belongs to the hardly neglected). Its hurling momentum is typical of the
running violin enlivened by bracing rhythmic audacious Beethoven working within the strictures of
underpinning from the piano. Again, both strains are classical decorum.
repeated in the same manner. Variation III Minore is
highly dramatic: its first phrases, marked P and The first theme is stated by both instruments, the
crescendo are suddenly answered by slashing subito FFs contrasted second subject is initially introduced by the
from the piano with plunging downward scales in the violin, then is handed over to the piano. But it is the
right hand against stormy 32nd note groups in the left. closing material of this exposition that supplies most of
The written out repetitions of the two strains reverse the the grist for the development section. Incidentally one
roles of the two protagonists. Variation IV, once again in passing incident (at measure 50 to 51; again at measure
the original A major tonality, is a much gentler affair with 146‐147 in the recapitulation) clearly foreshadows the
dolce syncopations and leads to a wistful coda. Rondo of the Third Piano Concerto, Op.37. An amply
proportioned coda, based largely on the same material
The third movement is a rumbustious Rondo whose jolly that served for the development brings the movement
dancelike theme is characterized by jabbing afterbeat to a dramatic close.
sforzandos. Two fermatas just before the first
reappearance of the principal theme are an insidiously The Adagio con molt espressione , for all its serene song‐
provocative invitation for any pianist to insert quasi‐ form elements, introduces some nerve tingling harmonic
cadenzas (taboo in more puritanical "play as written" turns and also a spacious breadth and profundity that is
times). in arm's reach of the great slow movements of Op.30
No.2 and Op.96.

SONATA NO.2 IN A MAJOR The concluding Rondo (Allegro molto) is, as so much else
This Sonata is a more diminutive contrast to Nos. 1 and in this Sonata, stylistically reminiscent of Mozart (that
3, more in the playful tradition of Mozart's lighter works composer's Sonata, K.481 in the same key, particularly).
in the same genre. The opening Allegro vivace presents a This easy‐going, extroverted, busily animated Finale
dancing 6/8 metre constantly in motion: four bars of keeps both players busy, either declaiming thematic
upward appoggiaturas (and then another four of material, or accompanying by way of tightly wound
downward ones) are followed by sixteenth note runs broken alberti chords.
from the piano and then with violin and piano together.

This sixteen measure first subject is reiterated, with the SONATA NOS. 4 & 5
violin's restatement of the appogiaturas completed by These two highly contrasted but closely related sonatas
the piano. The remainder of the short exposition is bear the same vintage date, 1801. Beethoven had
replete with darting motivic imitations thrown back and originally planned to have them published together as
forth by the two protagonists. An idea stated by the two Op.23 but the immense popularity of the so‐called
players in unison octaves serves as a closing theme. The "Spring" Sonata prompted the composer to keep it as a
development commences in C Major (injecting a mild separate entity from the more experimental (and less
note of drama). Otherwise, working out and accessable) A minor work. For all their distinct
recapitulation are pretty pro forma and without incident. differences the two masterpieces share the same DNA:
The movement ends with a sly restatement of the Consider the upward accacciaturas in the Presto of
upward appogiaturas. Op.23 and also in the second theme of Op.24's first
movement. Also, the thematic similarities between
32

Op.23’s second movement and the Spring Sonata's "off the violin sometimes joining in. An exquisitely benign
beat" Scherzo (both of these movements were later and florid lyricism pervades, replete with broken thirds
echoed by Robert Schumann in his Soldatenmarsch from (quasi‐bird calls). Beethoven's humour introduces an
his Album for the Young). ironical twist in the miniature Scherzo, Allegro molto:
the violin has to work hard at playing out of sync with
the piano. And in the whirlwind unison Trio that follows,
SONATA NO.4 IN A MINOR, OP.23 both protagonists must hang on for dear life lest their
The sportive first movement of Sonata No.4, Op.23 ensemble is unwittingly thrown adrift!
Presto, is a fiery affair in 6/8 metre which moves with
abrupt, constant stops, starts and jolting surprises. The The Allegro ma non troppo is remarkably analogous to
two main ideas follow in short order and a third comes the counterpart Finale of the Op.22 Sonata for solo
to the fore in the development section (beginning at bar piano: not only are the main themes of the two
136) and is heard from again in the coda. Both halves of movements almost identical in themselves‐‐but both
the movement are repeated. subsequently are subjected to similar procedure and
embellishment in their metamorphoses. A distinction
The Andante scherzoso, piu Allegretto's proto‐Schumann can be made between these sibling Sonata‐Rondos: The
first theme and its subsequent fugal bridge passage lead second episode of Op.22 is a boisterous intrusion while
to the second subject (bar 51) with its 32nd note twiddle the one in the "Spring" Sonata, with its Ostinato triplets,
followed by two staccato eighth note. Incidentally, this is more well behaved and less conspicuous.
second movement is likewise in Sonata‐form. This
movement does double duty as the work's missing slow
movement and Scherzo. THREE SONATAS OP.30
Beethoven's three sonatas which make up Op.30 were
The Allegro molto culmination returns to the work's composed in 1802 (at the same time as his three solo
opening Presto's essential mood, sporting a dramatic piano sonatas Op.31 and a year before the landmark
rondo theme‐unlike a classic rondo theme in spirit, but, "Eroica" Symphony) As customary with Op.12, these
behaving as one, reappearing over and over in same key three are once again intriguingly contrasted in mood and
(A Minor). The movement's constant motion is broken even scale. The pieces are dedicated to Czar Alexander I
by slow and reflective episodes (the second is in F of Russia.
Major). Another subordinate idea brings to the fore a
motif of two staccato quarter‐note chords followed by
half‐note rests. A fourth statement of the rondo theme SONATA NO.6 IN A OP.30 NO.1
introduces a rhapsodic fantasy on the preceding The Sonata No.1 in A Major is probably the least popular
material, calling for considerable virtuosity up to the of Beethoven’s ten for this instrumental combination but
climactic statement of the first theme. it is (for perhaps the very reason for its lack of fame) one
of the most subtle, and certainly among the most lyrical.
As an analysis of its Allegro first movement tellingly
SONATA NO.5 IN F MAJOR, OP.24 "SPRING" reveals, Beethoven's adventurous use of even his
This sonata gave the public everything it had probably atypically unassertive material is both rigorous and
missed in its immediate predecessor: for once the wonderfully dramatic. Note, for instance, how the
nickname, though spurious, is entirely apropos. The first movement’s development section deploys and combines
movement, Allegro, spins along with a melodious first aspects of all the thematic and motivic events
subject ten bars in length, first sung by the violin, and encountered in the foregoing exposition: the
then immediately reheard from the piano. A fortissimo "groupetto" of the first subject; the graceful second
bridge passage from the keyboard alone in unison scale theme (which is broken apart into canonic fragments);
passage leads to the second theme with its the leaping bridge passage (which is now used to
aforementioned accaciaturas buoyed by rising eighth accompany the "groupetto" of the opening theme).
note chords. When the exposition comes to its end we
feel that we have heard all of the movement's essential The second movement, Adagio, is analogous to the
ingredients. The ensuing development is undramatic by fourth Symphony's slow movement in its pervasive
Beethoven's usual standards and is mostly devoted to dotted note rhythm and flowering lyricism. The D major
the second subject and activity in triplets. Recapitulation of its principal part momentarily darkens to B minor but
seemingly passes without incident. But this time the the movement’s real surprise comes with its
piano goes first, with the violin following suit. The coda introduction of the central episode in E flat major. Along
combines the main theme with the triplets from the with the key change, the dotted note ostinato stops for
development against the sixteenth notes of the opening the nonce. Reprise of the opening theme returns the
melody. music to its home tonality of D major‐ but in place of the
dotted notes, the restated melody is now accompanied
The Adagio molto espressivo in B flat major can be by flowing triplets (as is also, incidentally, the procedure
considered analogous to the still‐to‐come Scene by the in the cited counterpart of the Fourth Symphony except
Brookside of, the Sixth Symphony. The flow is supplied that the triplets there supplement rather than supplant
by the almost constant sixteenth‐note Ostinato to the the dotted rhythm). But in the sonata, as well, the
effusive melody played by the piano's right hand with
33

dotted note ostinato is reinstated in the movement's sinister backdrop of rumbling neighbour notes in the
final moments. bass (sometimes taking the form of a written out trill; at
For whatever reason, Beethoven frequently turned to other times as fairly exploding arpeggios). Slashing
the Theme with Variations format in his ten piano/violin chords bring us to the second subject, a jaunty alla
sonatas‐‐the cycle has no fewer than four instances of marcia dotted note affair, introduced by the violin
such usage (two as slow movements, two as finales) as against a running sequence of staccato eighth notes in
opposed to only five in the course of the thirty‐two the right hand of the piano part. An energetic passage
piano sonatas! The Tema of Op.30 No.1 is a jolly alla follows, alternating upward scales back and forth
breve affair, propelled by eighth notes and anchored by between the two protagonists. The exposition concludes
a sturdy bass line. This theme is in two‐part binary form, with a return to the movement's opening motif in
with each of its parts (strains) repeated but these maggiore.
repeats themselves varied and thus written out.
Variation I is cast in triplets, (here, as in most of the This is the first of Beethoven's sonata movements to
subsequent variants, the repeats of the two strains are bypass an exposition repeat. The next instances were to
not varied.) Variation II has the material as flowing, come in Op.57 (the Appassionata Sonata) and Op.59
horizontal lines. Syncopes are introduced in the second No.1 (the F major Rasoumovsky Quartet). (Beethoven,
half. Variation III is again characterized by perhaps guilt‐ridden by these departures from text‐book
accompanimental triplets. But its mood is more decorum, makes amends by repeating both halves of the
energetic than that of the first variation with a vigorous second of the Op.59 Quartets!). The working out is
dialogue between piano and violin. Variation IV typically thorough, beginning with the germinal opening
alternates slashing multiple stopped violin chords with motto but giving full attention to both the second
more lyric material from the piano. subject and the energetic material that permeates the
rest of the movement. The grandly proportioned edifice
Variation V, Minore, places the thematic elements in the ends with an extended coda, almost a second
piano's bass register while the violin joins in a counter development.
melody on top. The writing becomes increasingly
contrapuntal and complex. Incidentally varied repeats As in the first movement, the piano states the Adagio
are again used in this, the most emotionally charged of cantabile's first part by itself, and restates it in tandem
the variations thus far). The shadows lift in the Sixth, last with the violin accompanied by the piano. The answering
Variation and a return to the pervading A Major brings second strain is likewise repeated in the same manner. A
forth a change of meter to 6/8. Its swaggering persona central episode, built upon sustained chords against
brings the Sonata to a close with an effective (but still arpeggio figurations eventually leads to reprise of the
relatively low‐keyed) coda. original melody, the arpeggios of B section continuing
and evolving into a full scaled active ostinato
Before leaving discussion of this Sonata, it is fascinating accompaniment. Twice in the coda, hair‐raising upward
to note that Beethoven had originally intended to end C major scales jolt the music into an alien F Major. But
this work with the ultra‐brilliant tarentella‐like both times it recover its poised serenity (and rightful A
movement that we know as the Finale of the Kreutzer flat major tonality). The movement ends benignly, the
Sonata, Op.47. It is hard to conceive of its placement in violin alternating pizzicato with arco, the piano brushing
the earlier context—a mismatch that seems to me as ill‐ past with gossamer 32nd note scales.
advised and jarring as the use of the Grosse Fuge as the
culmination of the String Quartet, Op.130! The C major Scherzo, with its perky nose thumbing
asides, is almost symphonic. At one point, the violin lets
forth with a series of repeated Es, like sparks from a
SONATA NO.7 IN C MINOR, OP.30 NO.2 blow torch. The Trio section's first part offers a canon
As with Beethoven's characteristic Sturm und Drang between the violin and the piano's left hand; with the
efforts in the key of C Minor (the Piano Trio, Op.1 No.3; latter's right hand supplying the rhythmic momentum
The String Trio, Op.9 No.3; the Piano Sonata, Op.10. with rolling triplets. (The second strain of this central
No.1; the String Quartet, Op.18 No.4; the Third Piano episode reverses the roles of the two instruments).
concerto, Op.37; the Coriolan Overture, Op.62; and of
course the Fifth Symphony, Op.67), the Piano/Violin The Finale brings us back to those ominous neighbour
Sonata, Op.30 No.2 gives us the familiar dichotomy of notes in the first movement. Out of this restless
emotive, spitfire explosiveness and its counterpart beginning comes a spacious theme closely related to the
yielding lyricism (usually reserved for the second themes second subject of the Op.18 No.4 Quartet's last
in the relative major). movement. Other splendid ideas come to the fore; one
of them particularly analogous to the bustling fugato in
Its first movement allegro con brio commences with a the second episode likewise encountered in the Rondo
sotto voce opening salvo stated by the piano alone ‐a of the Third Piano Concerto. The cited Op.37 Piano
half note followed by four sixteenths and a quarter‐ is Concerto ends with an optimistic C major dash to the
immediately repeated a fourth higher, and then followed finish line; but in this Sonata, as in Op.10 No.1 and Op.18
by an ominous downward chromatic run and three soft No.4, the aura of C minor tragedy persists to the final
chords. The violin then takes up the already heard theme bar.
in a more outgoing manner while the piano furnishes a
34

SONATA NO.8 IN G MAJOR, OP.30 NO.3 movement is indeed, in A major, it soon enough leads to
In decided contrast to the introspective A major Sonata the tonality of A minor. It is unusual even for the
and the explosive C minor, the G major Sonata, Op.30 excitable Beethoven, to find a work with two of its
No.3 is an ebulliently light‐hearted work. Although its movements designated "Presto". Beethoven describes
outer movements (particularly the first, Allegro assai) this as "a Sonata that is written in a very concertante
suggest a scowling, unkempt Beethovenian persona, the style’’ and we can assume that Bridgetower's virtuosity
musical growling is done in the best of good fun. The must have been as considerable in its way as
opening movement is permeated with a blithe mixture Beethoven's, judging from the music's slashing, incisive
of gruffness and courtly elegance that never loses persona. Beethoven's audacious demands have
impetus. obviously inspired Schubert's C major Fantasy, D.934,
and, together, these two compositions foreshadowed
The central movement, like the one in Op.31 No.3, has a Paganini's diabolical musical exploits. For all its
geniality that almost borders on languid sentimentality. breathless agitation, the opening movement of this
However, a distinction ought to be made between these sonata is of enormous breadth and scope, as are,
two siblings: The Piano/violin Sonata is somewhat more indeed, the two which follow.
expansive than the Op.31 No.3 Piano Sonata (which
conforms more closely to the traditional and The central slow movement, Andante con variazione
conventional Minuet/Trio/Minuet da capo format). The presents a spacious theme with four variants and a coda.
subordinate idea in Op.30 No.3 (call it the trio, if you Piano and Violin take turn sharing the honours in stating
wish) is joined to the main body of the movement, and the two‐part binary idea (each of its two parts repeated
characterized by displaced accents in the bass. At the in a varied manner). Variation I primarily belongs to the
end, violin and piano divvy up the original minuet piano, with the fiddle merely contributing to the dancing
melody and alternate in restating it (very much triplets of the keyboard part's rhythmic impetus.
foreshadowing the last pages of the Variation movement Variation II, on the other hand, gives pride of place to
of the Kreutzer Sonata). the violin (who takes up the theme in piercing repeated
notes) while the piano part for all its harmonic
The Finale is a moto perpetuo rondo whose mood ‐and importance, is essentially an accompaniment.
also its content‐ share much with the work's opening
movement. (In fact, the second part of its exuberant In the minore Variation III, the contributions of the two
theme is none other than a reincarnation of the Sonata's instruments melt in perfect equilibrium. The basically
opening phrase!) Both performers are kept on their toes dark, solid tonal characteristics of this third variant
(fingers?) as the composer puts his romping materials provides a perfect dichotomy with the delicate, lacy
through their paces. Near the end, there is the "surprise" sonorities put forth in Variation IV. In this final
accidental stumbling into the distant key of E flat treatment, Beethoven returns to his practice (as
(Beethoven's counterpart of Alfred Hitchcock's originally set forth in the Tema itself) of writing out his
appearances in his own films). The "mistake” is of course sectional repeats in varied instrumentation: each half of
righted, and the music comes to a happy, vigorous the two part theme is initially taken by the piano while
conclusion. the violin embroiders with pizzicatos and like thematic
fragments, and then the violin (with the piano's
accompanying syncopes suggesting elements of hidden
SONATA NO.9 IN A, OP.47 ("KREUTZER") counter melody). This leads directly into the serene and
Here is a unique, insofar as I can tell, situation of a expansive coda in which the two protagonists reminisce
musical composition that inspired a literary masterwork in dialogue on aspects of the Tema's material. The
that, in turn, brought forth another piece of music: the movement ends with the violin climbing high to the F
Kreutzer Sonata's brilliance obviously affected Leo above the treble staff and the keyboard dropping down
Tolstoy ‐who thought the work so passionate and to the same note (and an a tenth higher) way down in
incendiary that in his story of the same name, one of its the bass.
central characters took offense (to put it mildly) at
finding his wife playing it with another man. In writing Although the Kreutzer Sonata was one of the two in this
his first string quartet based on Tolstoy (and, obviously, cycle not composed as part of a group‐‐the G Major,
Beethoven as well), Leos Janaćek argued on behalf of Op.96 was the other‐‐it should be chronicled that its
music's ability to heal the spirit wheras Tolstoy brilliant third movement (Presto) was originally to have
celebrated its capacity to provoke violence. been the Finale of the Sonata in A Major, Op.30 No.1.
Beethoven was utterly correct in rejecting this brilliantly
In any event, musicologists now know that Beethoven's assertive Sonata/Rondo in that earlier context (where it
penultimate piano/violin sonata which in its perfected would have clashed disastrously with the soft‐spoken
version is dedicated to Rudolf Kreutzer, was originally aesthetics of that work's two earlier movements). On the
composed for George Bridgetower, a mulatto violist other hand, pressing it into service at the last moment
whom Beethoven considered a dear friend. The two, (Beethoven as was so often his wont, had procrastinated
alas, quarreled, but whether the sonata was the cause of in composing his new sonata, and needed a ”quick fix” to
their falling out is not known (Incidentally, Kreutzer is meet the impending date of a scheduled first
known to have disliked the work and he never played it). performance!) was fortuitous.
Although the Adagio sostenuto that opens the first
35

SONATA NO.10 IN G MAJOR, OP.96 characterized by its sforzando accented upbeats. The

The last of Beethoven's ten sonatas for piano and violin contrasting Trio, in E flat Major, is flowing and Ländler‐
(it dates from 1812, the same year as the Seventh and like. A varied Da capo of the Scherzo culminates with a
Eighth Symphonies and nine years after the Kreutzer) Coda in which the movement's main idea is given a
might well have been dubbed the "Archduke Sonata" bright restatement in G major. (The violin's culminating
since it is dedicated to the composer's loyal friend and trill on B, lest you overlook it, recalls the opening of the
patron, Rudolph of Austria, along with the Piano Trio, first movement!) There is a high preponderance of the
Op.97 which does have that eponymous nickname. Its theme and variation form in Beethoven's Piano/Violin
first performance took place on December 29th of that Sonatas: he uses it four times in the course of these
year at the home of Prince Lobkowitz, another of works (as opposed to only five times in the 32 for piano).
Beethoven's patrons: Rudolph was the pianist, and the In Op.12 No.1 and Op.47, this highly civilized form serves
violinist on that occasion was the celebrated Frenchman, as the slow movement; in Op.30 No.1 and the more
Pierre Rode. It is conjectured that the sonata was begun innovative Op.96, however, the self‐same structure is
as early as February but as was frequent with pressed into action to comprise the work's Finale. The
Beethoven, its last movement was not completed until Tema (Poco allegretto) is another simple dance tune in
only days before the premiere. binary form. Seven variants follow and because each
flows into the next continuously, a listener can be
Because of its G major tonality and its lyricism tinged pardoned for initially failing to grasp the theme with
with muscular drama, the Op.96 Sonata is very much a variation structure here. The first four variations are, by
stylistic sibling to the Fourth Piano Concerto (which, Beethovenian standards, relatively pro forma and
incidentally, was also dedicated to Rudolph). Its first uneventful‐‐all proceed in the same tempo as the tema,
movement, Allegro moderato, is a spacious yet cogent and all but the first are double variations (e.g., with both
sonata structure. The violin's trilling opening phrase is halves of the theme varied instead of merely repeated‐‐
immediately answered in like fashion by the piano, and this holds true of the theme itself). In Variation V,
the intimate music proceeds with an aura of lofty however, the tempo changes to Adagio espressivo and
tranquillity (like the cited Fourth Concerto, a motif using the emotional content deepens considerably. The
repeated notes, and an arching legato dialogue between original faster tempo is reinstated, and a seeming
piano and violin, also remind the listener of this restatement of the original theme in something close to
concerto). The contrasting second subject comprises a its unadorned first incarnation suddenly goes away
jaunty melody set in tripping dotted notes figurations harmonically, and ‐truncated‐ leads to a vigorous coda in
and set against a backdrop of rolling triplet eighth notes. the correct G Major (the false truncated restatement, as
A bit of rhythmic conflict is created by Beethoven's it turns out, was in the "wrong" key of E flat Major). In
sometimes pitting those triplets against normal duplets ‐ the course of this coda, two more complete variations
three‐against‐two. appear. There are twelve bars of poco adagio
contemplation of the tema's second half and, finally,
He also has a surprise in store for us at measure 59 when eight measures, forte and presto, being the sonata to a
a ritarding end to a big cadence leads to B flat major stomping conclusion.
instead of the expected D major (which of course returns © Harris Goldsmith
four bars later only to repeat the same incident and its
solution). The development commences quietly with the
haunting phrase of the exposition's closing theme and its
most notable facet is that the already flowing triplets of
the second theme never cease. And whereas XII. STRING TRIOS
Beethoven's developments are so often densely active, In specialist literature on Ludwig van Beethoven’s string
this one appears content to gently reminisce. Then, just chamber music, it has become accepted practice to
before the recapitulation, the triplet activity stops and portray the five string trios as preliminary attempts
alternating trills between piano and fiddle bring forth towards the creation of the string quartets, which
the reprise of the opening theme (but this time the originated at a later stage. In assuming that the deaf
piano rather than the violin going first). The coda is maestro achieved the pinnacle of his chamber music
based on the various aspects of the first theme. creation in the spirituality and depth of expression, full
of contrapuntal finesses, which epitomises the
The Adagio espressivo, in E flat major, begins with a structurally new type of quartet Op.131 in C sharp minor
piano solo‐‐a long lined cantabile in eighth notes set and Op.133 in B major, Beethoven biographers have
against flowing inner voice sixteenth notes. That same been prepared to allow the seventeen string quartets to
format was used by Beethoved in the second movement overshadow the trios which are essentially simpler, but
of his "Pathetique" Sonata, Op.13. I would also like to portray a more social element. However, those who
suggest that aspects of Op.96's Adagio undoubtedly view a musical composition merely in terms of its degree
served as an inspiration (perhaps unconscious) to of maturity within a life’s work run the risk of
Brahms in his G Major Piano/Violin Sonata, Op.78. underestimating the individual qualities of earlier works,
and to see them in the wrong light when compared to
As with the Serioso Quartet, Op.95, Beethoven's line of the so‐called masterpieces. If the sufficiently self‐critical
thought moves directly onto the third movement, composer had considered his string trios as preliminary
Scherzo (allegro). This jovial G minor movement is attempts prior to his later works in the sense of viewing
36

them as inferior, he would most certainly not have been “I undersigned, confirm herewith that I transferred Mr.

interested in publishing them. Johann Traeg, the privileged dealer of art and music
devices, the total ownership in three trios for a violin,
Alternately, he would have done away with opus viola and a cello, the first of which is in G Major, the
numbers, as he occasionally did with minor compositions second in D Major and the third in C Minor, all of them
of marginal value and with earlier works from which he composed by me and dedicated to Count Browne,
distanced himself increasingly with the passing of time. brigadier in the services of His Royal Majesty the King of
An evolutionary comparison with the first violin and all Prussians, in order to print them or to use them in his
piano sonatas, which appeared at about the same time, discretion, however against his promise not to transfer
does not necessarily impose itself – the string trios those trios to anyone else as well as my representation
contain enough unique characteristics and striking tonal not to have transferred those trios to anybody and his
beauty to be performed and acknowledged as a separate duty to pay an agreed honorarium of fifty ducats. L. v.
entity in their own right, a fundamental part of Beethoven.”
Beethoven’s chamber music.
The first of the three trios, which Beethoven describes in
At first glance, Beethoven’s first string trio Op.3 in E flat his dedication as “the best of his works”, begins with an
major shares numerous similarities with W.A. Mozart’s Adagio introduction steeped in sorrow, much as one
1792 string trio K563, published four years earlier in would find in the “Sonate pathétique” Op.13 and several
rd
1792, with regard to the position of both Minuets (3 later works. The fortissimo of the unison three‐tonal
th
and 5 movements), the fact that it contains the same appogiatura is immediately followed by a pianissimo
unusually high number of six movements, and that it is staccato chain in the third bar, before the extreme
composed in the same key. Beethoven’s composition, dynamic contrasts are repeated within the shortest
however, divided into voices, also abounds with his own timeframe possible –a single bar– after which the playful
individual ideas and a unique expressiveness which main theme of this Sonata movement, rich in contrasts,
strikes the listener from the first bars of the dotted commences. The pizzicato side theme in D minor seems
rhythm to the passionately insistent tonal repetitions. to belong to another world, as it captivates the senses
Beethoven’s Serenade Op.8 in 5 movements contains with its muted lyrics and exquisite tonal beauty. The
such an abundance of explosive musical material that manner in which Beethoven repeats a certain note and
Erno von Dohnányi, a composer of the late romantic then harmoniously cloaks it in a continually changing
period, drew his inspiration from the work more than a accompaniment is no less impressive than the subtle
century later. creation of a drawn‐out, slow movement interspersed
with a lively middle piece, or the lightness of the third
The group of 3 trios in Op.9 have managed to influence movement (Scherzo). In the Finale, amidst the brilliance,
entire later generations of composers. The most notable a two‐bar motif suddenly appears which is later
of these influences would have to be the fiery Presto expanded and recurs as the main theme in the first
finale of Op.9 No.1, which has left clearly perceptible symphony in C major Op.21.
traces in many a Scherzo and particularly in the Presto of
the Octet in E flat major Op.20 by Felix Mendelssohn While Beethoven busied himself with the overall
Bartholdy, who has even adopted the playful quavers of structure of his composition in the trio Op.9 No.1, with
Beethoven’s theme in perpetual motion. These the application of a Sonata in the head movement as
indications should be reason enough to acknowledge the well as in the Finale, and though the expressive Adagio
high level of creativity in Beethoven’s string trios, which anticipates the more serious intonation of the string
have frequently been used as models in composition, quartets of his later years, trio Op.9. No.2 in D major
and instead of seeing them as preliminary attempts, returns to the simplicity and cheerfulness of the
rather to give these earlier works the recognition they so Divertimenti of Haydn, Mozart and other Viennese
rightly deserve. classics, much as was the case with the Serenade Op.8.

Chamber musical transparency and lyrical finesse are
TRIOS OP.9 NO. 1‐3 evident not only in the main subject, which reveals a
From a qualitative perspective the three string trios of trace of humour and remains light‐hearted to the last.
Op.9, each in four movements and together forming one The slow movement in D minor reveals elements of a
unity, can be compared to the first string quartets from Serenade. The finely chiselled, tonally meagre Minuet
Op.18 in six parts (1798‐1800). Beethoven wrote them brings a sophisticated air to the piece, beginning with a
for and dedicated them to Count Johann Georg von pianissimo in A minor which returns to D major to regain
Browne, presumably between 1796 and 1798. While the the finesse of the dance. In the concluding Rondo, the
signatures in the “Wiener Zeitung” (Viennese News) of Cello sets the beat with its striking prominent Ritornello
st
the 21 July 1798 reporting the three new releases are theme, before Ostinati and Bourdon voices in the
lost, a particularly interesting contemporary document manner of Haydn take over.
recording the contract entered into between the
composer and the publisher Traeg in Vienna on the 16th In contrast to his two previous works in major,
March of the same year has been preserved : Beethoven’s last string trio Op.9 No.3 in C minor strives
with its passionate quality for a level of expressiveness
never before attained in chamber music. Dramatic
37

contrasts with the necessary suspense are introduced in minor within the 2nd Minuet in the root key E flat major.
the profound head movement with the strongly Through the constant recurrence of inverted mordants
chromatic main motif, the impetus of the first theme’s in the violin motif, with the support of an organ theme,
energetic build‐up, as well as the gentle side motif in A Beethoven imitates the music of bagpipes: pastoral
flat major. This slow movement, which can only be music of unequivocal originality.
compared to the best string quartets, captivates the
senses with its innate depth of feeling as well as with the The Serenade Op.8 from 1797 seems lighter and more
density of its contrapuntal finely interwoven voices. With carefree, reflecting the composer’s mood at the time. On
its persistent octave repetitions, syncopated rhythms the surface amusing, entertaining and in true
and the many striking sforzandi, the Scherzo –written in Divertimento tradition, this work proves to be rich in
the unusual six‐eight time– gives an impression of the contrasts and varied structures, and has numerous
demonic. In the wildly‐flowing Presto Finale, the sombre surprises in store. The introductory march of the fifth
pathos of the head movement alternates with movement, which is made up mainly of variations, for
conciliatory notes, switches to E flat minor, and only example, returns to conclude the Serenade. After the
after its emotional discharge with its octave repetitions Minuet, which opens with full chords in an almost choral
in a hammered fortissimo does it slide into a pure and manner and ends as an echo with pizzicato, Beethoven
restful, harmonic C major. risked a formal experiment. He disrupts the Adagio in D
minor with a sprightly Scherzo in D Major, which gets
repeated after the minor section to end the
TRIOS OP.3 AND OP.8 “SERENADE” unconventional hybrid of a slow movement with the
Experts today still do not agree on the exact time of shortened Adagio‐piece in minor. The Allegretto alla
origin of Beethoven’s first string trio Op.3 in E flat major, Polacca, whose powerful march rhythms are spiced up
published in Vienna in 1796 in “Stimmen von Artaria”. with several syncopations and are in greatest contrast to
While some are of the opinion that it was written while the dainty elegance of the closing variation, have since
Beethoven was still in Bonn in 1792, newly discovered found the greatest popularity.
evidence has led Eliott Forbes to believe that it was in © Walter Labhart
fact brought to paper only in 1794 shortly after
Beethoven’s arrival in Vienna, where he would spend the
rest of his life. Such squabbles regarding the history of
music and the many allusions to obvious points of
contact with Mozart’s string trio in E flat major K563 XIII. THE STRING QUARTETS
(Divertimento) should not distract from the essence, i.e. A BOLD, TOWERING EDIFICE
from the fact that the then 22‐year‐old student of In the autumn of 1798 or in the winter of 1798–99 Prince
Joseph Haydn and Antonio Salieri was already capable, Franz Joseph Maximilian Lobkowitz was looking for new
even before his further tuition by Albrechtsberger, of works to perform at his regular string quartet soirées. He
musically expressing himself with skilled precision and gave commissions to two composers who had left their
unmistakably unique thoughts and feelings. It is futile to imprint on the genre or were about to do so: Joseph
try and detect Mozart’s influences in the six movements, Haydn and Ludwig van Beethoven. Haydn complied with
as they are certainly not to be found in the music itself. his Quartets Op.77, while Beethoven came up with his
At best one could find traces in the formal layout of the first set of string quartets, Op.18, which appeared in
composition. To say that the intonation of Beethoven’s print in 1801. No reviews were published at the time,
work tries to emulate the entertainment value of but a notice in the (Leipzig) Allgemeine Musikalische
Mozart’s Divertimenti is a gross misrepresentation. Too Zeitung said that the quartets were ‘difficult to execute
much expressiveness in the true spirit of Sturm und and by no means popular in style’. Louis Spohr, for his
Drang is contained in this intense, suspense‐filled music part, regarded the String Quartet in F major Op.18 No.1
for a comparison with the non‐committal Divertimento as the very epitome of string quartet writing, for the
style of the time to be plausible. It is therefore probably poignant nature of the opening movement was a feature
a mere coincidence that the slow movements (Adagio) of unprecedented in the history of the medium.
both works are in A flat major, and that Beethoven has
chosen to end his work – set, like Mozart’s , in E flat In 1798–99 Beethoven had repeatedly tried his hand at
major – with a Rondo, too. With its contrapuntal chamber music works for various combinations, but
intensification and the remarkably placed caesura deliberately avoided the string quartet because of its
managing to convey an intense feeling of restlessness, exalted status in art and society and because of the
the scherzo‐like 2nd movement is ahead of its time. The compositional demands involved. A minuet, preludes
pauses which have been inserted at regular intervals in and fugues for string quartet were written in the mid‐
the first of the two Minuets are nothing if not bold in the 1790s for study purposes. During that period Beethoven
way in which they create in diversion from the copied out one of Haydn’s string quartets and Mozart’s
traditional composition of a dance form, distinguished in quartets K387 and K464, presumably in preparation for
the Viennese classics in general and in Mozart’s music his own essays in that field. Beethoven did not go for the
especially by its soft flow and resultant elegance. The easy option, as can be seen from the fact that he
violin solos, punctuated with intense sforzandi in the reworked the Quartets Nos. 1–3 in the summer of 1800
sonorous Adagio, deserve as much recognition as a before sending them to the publisher, probably after the
compositional idiosyncrasy as the highly original trio in C first private performances. How Beethoven judged his
38

approach to the genre is apparent from a letter to his A few years later the composer and writer on music,
friend, Karl Amenda, who had received a copy of the first Johann Friedrich Reichardt, who had lost his post as
version of No.2 as a gift: kapellmeister at the Prussian court in Berlin because of
his revolutionary sympathies, attended a chamber music
“Do not pass on your quartet to anyone else, for I have evening in Vienna. Reichhardt’s notes of 1808–9, which
revised it quite substantially. I have only just learned how contain formulations that were later to become famous,
to write quartets, as you will see when you hold them in provide an assessment characteristic of his age: ‘The
your hands.” programme featured three quartets: one each by Haydn,
Mozart and Beethoven. It was very interesting to
Beethoven’s Op.18 is strongly indebted to Haydn and observe in that order how these three composers had
Mozart. He used Haydn’s quartets as a general point of imprinted their personality on the genre. Haydn created
departure for the ‘idiom’ and texture specific to the it, drawing on the pure fount of his original thinking and
medium while relating specifically to one of Mozart’s sunny disposition. In terms of naiveté and conviviality he
quartets. The Quartet Op.18 No.5 is not only in the key remains without equal. Mozart, more energetic in nature
of A major like Mozart’s K464, but it also occupies the and more fecund in imagination, ranged farther afield to
same place in the set (K464 was printed as Op.10 No.5). pour his most intimate and sublime feelings into many of
Moreover, Beethoven adopted the same sequence of the movements he wrote. He also set greater store by
movements (the minuet comes second) and duplicated elaborate textures and thus built a palace atop Haydn’s
some of the tempo markings (Allegro for the first delightful, fantastic summerhouse. Since Beethoven had
movement, Andante for the third). In both cases, the established himself in that palace early on, the only way
third movement is a set of variations with a coda. The to express his own nature in forms peculiar to him was
final movements share the same metrical pattern and to erect a bold, defiant towering structure, and anyone
are both in sonata form. On top of these formal trying to place anything upon it will do so at his peril.
similarities, there are various more or less pronounced With his first string quartets, Beethoven embarked on a
references at the musical level. The numerous scholars path of his own, poised between innovation and
who have analysed Beethoven’s quartet writing devote tradition, proudly taking his place in the history of the
special attention to the final movement of the String string quartet.
Quartet in B flat major Op.18 No.6. This is partly because
it opens with a slow introduction, a practice then
common in a symphony but not in a string quartet ‘A NEW PATH’
(another example is Haydn’s Op.54 No.2). But the most In 1801, Ludwig van Beethoven’s first string quartets
striking novelty is the unprecedented use of a appeared in print. With his six quartets, Op.18, the
programmatic title. The significance of the words ‘La young composer staked out his claim to excellence in a
Malinconia’ (melancholy) has been hotly debated as has medium which, thanks to Joseph Haydn, had entered the
the question of whether they refer only to the slow canon of ‘classical genres’ exactly 20 years before. While
introduction or also to the ensuing Allegretto quasi thoroughly grounded in the Classical soil of Haydn and
Allegro. More recent findings (Arno Forchert) suggest Mozart, these quartets speak a language that is entirely
that the composer had the entire finale in mind. Beethoven’s own. Somewhat later, in 1802 or 1803,
Beethoven stated: ‘I am not really satisfied with what I
According to an interpretation that gained currency in have accomplished so far. From now on I shall strike out
the 19th century, the title ‘La Malinconia’ should be seen along a new path.’ He did not explain what he meant by
in a biographical context (the onset of Beethoven’s a new path, but his three piano sonatas, Op.31, which
deafness). Another explanation, which is more historical are usually cited as a possible clue to Beethoven’s self‐
in nature, is that the composer sought to portray one of assessment, were published a short time later.
the four ‘cardinal humours’ in musical terms. ‘Sweet
melancholy’, an ‘emotional fad of the 18th century’ (Carl It has become common practice, therefore, to regard the
Dahlhaus), was repeatedly singled out for artistic year 1802 as the beginning of Beethoven’s second
expression, but Beethoven may also have been aware of creative period. Just as he produced Op.18 towards the
‘bitter melancholy’ as a topic of literature and art (e.g. end of the first creative period, he did not return to
Dürer’s Melencolia I). For his compositional resources string quartet writing until the very end of the second.
(chromaticism, shifting harmonies) he drew on the The two sets represent the twin pinnacles of his
musical rhetoric of the baroque style. chamber music writing.

In line with earlier musicological practice, the Allegretto Between 1804 and 1806 Beethoven composed three
quasi Allegro coming after the slow introduction was string quartets to a commission from Count Andreas
interpreted as the rejection of melancholy in favour of Kyrillovich Razumovsky, the Russian ambassador in
joy and cheerfulness. More recent findings, however, Vienna, which explains why they later became known as
suggest that this ‘German dance’, with its two Adagio the ‘Razumovsky Quartets’. As a special tribute to his
episodes, does not portray any development, but depicts patron, Beethoven introduced the melody of a Russian
the abrupt changes of mood associated with the folk song in both the finale of Op.59/1 and the Maggiore
melancholy humour. section of the third movement of Op.59/2. His source
appears to have been a collection of Russian folk songs
39

by Ivan Prach, which he may have discovered in Count Having departed from the convention of writing quartets
Razumovsky’s library. in sets of six in Op.59, Beethoven went so far as to
confine himself to a single quartet in Op.74. He
Razumovsky, Beethoven’s patron since 1796, was a great composed the E flat major work in the summer and
music lover and amateur violinist. He managed to recruit autumn of 1809, and it was published the following year.
the finest string ensemble of his day, the Schuppanzigh The dedicatee was Prince Franz Joseph von Lobkowitz, to
Quartet, maintaining it with a regular salary. whom Beethoven had already inscribed his Op.18. The
Subscription concerts featuring string quartets were held string quartet Op.74 observes the traditional sequence
in his Vienna palace from 1804. This was a major of movements. The first movement follows sonata form
innovation because string quartets had usually been and opens with a slow introduction, an unusual feature
performed in private circles during the 18th century. for Beethoven even though it can also be found in his C
However, as public concerts became more widespread, major quartet, Op.59 No.3. The work owes its nickname,
the genre had to be brought into line with the ‘Harp’ Quartet, to the pizzicato arpeggios in the first
requirements of a larger audience. With the three movement. The slow second movement, a rondo, is
quartets of his middle period, Beethoven successfully followed by a scherzo (marked Presto) with trio. An
combined the need to cater for a wider public with the Allegro con variazione brings the work to its conclusion.
traditional element of exclusiveness, thereby attaining a Nowadays this quartet is commonly described as ‘light‐
‘qualitatively new level of complexity’ (Ludwig Finscher). hearted and genial in mood’, but a contemporary
reviewer saw matters differently. Perhaps he had
However, these string quartets caused headaches to listened more carefully, for he found the quartet ‘serious
Beethoven’s contemporaries (and to posterity) because, rather than cheerful, searching and sophisticated rather
as the Allgemeine Musikzeitung noted in 1807, they than ingratiating and beguiling.’ In 1809, the year he
were ‘very long and difficult, searching and superbly wrote Op.74, Beethoven employed the key of E flat
crafted, but not easily accessible’. Even Beethoven’s major repeatedly, notably in his sonata ‘Les Adieux’, the
friends and musicians at first greeted Op.59 with ‘Eroica’, Wellington’s Victory and the melodrama from
incomprehension. ‘When Schuppanzigh first played the his incidental music to Goethe’s Egmont. It seems that
Razumovsky Quartet in F (i.e. Op.59 No.1), they burst this key, which Beethoven also used for a number of
out laughing, convinced that Beethoven was pulling their songs, was meant to express feelings of passion and
leg and that this was not the quartet he had promised.’ searing intensity.
In 1812, during a Moscow performance, the famous ©Susanne Oschmann
cellist Bernhard Romberg trampled on his cello part, and
a few years later, in St Petersburg, ‘the assembled
company were in stitches when the double‐bass THE LATE STRING QUARTETS
presented his solo on a single note (beginning of the The relationship of late Beethoven to the conventional
second movement, Allegretto vivace e sempre is, with all of its uniqueness and enormity of formal
scherzando)’. language, entirely different, much more benign and
compliant. Untouched, unchanged by the subjective, the
The unusual, ‘symphonic’ length of the quartets was conventions often show up in the late works with a
noted already in the above‐mentioned review. Another bleakness or, one could almost say barrenness, an
unusual feature, emphasised by Beethoven, is the fact abandonment of ego, that has a more frighteningly
that the exposition of the first movement of the F major majestic effect than any hazarding into the personal.
quartet must not be repeated – otherwise the
‘uniqueness’ of the musical proceedings in the overall Thomas Mann, Doctor Faustus
design of the movement would be lost. Even so, the In the last years of his life –after the composition of the
traditional pattern remains discernible in each quartet. Missa Solemnis– Beethoven occupied himself once again
The outer movements are laid out in sonata or sonata‐ with all of the genres that were particularly important to
rondo form, with the slow movement either preceding him and that were highly regarded in the aesthetic of the
or following the minuet or scherzo‐like movement. But time: symphony, piano sonata and string quartet. The
the formal design is less important here than the commission from the Russian Prince Nikolaus Galitzin (to
‘unfolding of the thematic material’ (Lini Hübsch). The whom Opp. 127, 132 and 130 are dedicated) in
breaks between the formal components are obscured by November 1822 and the return to Vienna of Beethoven’s
the thematic work, and the function of the formal friend and preferred interpreter Ignaz Schuppanzigh can
components is no longer clearly visible. These are some be traced as the concrete reasons for renewed quartet
of the characteristics of the ‘new path’ to which composition. However, a written offer of new quartets
Beethoven referred. The ‘new path’ is most strikingly made to the publisher Peters in the spring of 1822 shows
apparent in the first movement of Op.59 No.3, its theme that Beethoven was again occupied with the genre
(following a slow introduction) being ‘split in a peculiar independently of those reasons. The long break between
way’. As Carl Dahlhaus has pointed out, ‘bars 30 and foll. the composition of the quartet, Op.95 (1810), and the
are a rudimentary precursor rather than the theme itself five late quartets (beginning in 1822) suggests that the
while bars 43 and foll. no longer constitute the theme latter are to be understood as a summation by
but rather a clamorous tutti after a melodically Beethoven. With all due caution about attempting to
sophisticated concertino.’ make clear demarcations within a life’s work –the
‘Quartetto serioso’ Op.95, for example, cannot readily
40

be assigned to a middle creative period– the last form and fugue, and finally all three of the preceding
quartets do form a group in which Beethoven movements’ characters (strict sonata, lyric/cantabile and
transcended in form and harmony that which he had scherzo‐like/scurrilous) are once more brought together.
hitherto composed and the public had accepted. If his The C sharp minor quartet embraces in a much more
first quartets (Op.18), with their relation to Haydn’s continuous fashion –the variation section, No.4, is the
classical quartets of Op.33 and their conversational tone, structural seed of the entire work– various formal
were still intended for a music‐making amateur public, in structures (fugue, sonata form, scherzo, variations),
the middle group (Opp. 59, 74) there is a perceptible thematic material and characteristic inflections. Finally,
virtuosity that addresses itself to a larger public and in the F major quartet, Beethoven brought the curtain
introduces the string quartet to the concert hall. The late down on his life’s work with ironic detachment with a
quartets, on the other hand, exhibit a singular tension clear reduction in dimensions and demands, and with an
between a highly technical level of abstraction in their almost Classical homage to his two great models, Haydn
construction –for example in the treatment of and Mozart.
dissonance– and more conventional aspects –for © Ulrike Schröder ‐ Translation: Mark Knoll
example in the use of vocal and dance forms (recitative,
aria, folk dance).

The late quartets were successfully premiered –most of
them by the Schuppanzigh Quartet– but quickly XIV. THE PIANO SONATAS
disappeared again from the concert hall. To the public Beethoven’s Piano Sonatas span the whole of his
and critics they were too brusque, inscrutable and creative career from the very early set of 1783,
abstract. Musicians considered them technically dedicated to the Elector Maximilian Friedrich, to the
unplayable. Beethoven partly acquiesced to the wishes “late period” Op.111 of 1823. His first mature works in
of his listeners and publishers in that he removed the this genre, the Op.2 sonatas of 1795‐6 reveal the
great closing fugue from Op.130 (it was published influence of Clementi more than that of his teacher
separately as Op.133) and replaced it with a new, more Haydn to whom they are dedicated. The usual three
affable finale. Still, it must have been apparent to him movement form is supplement by an additional
that the last quartets had surpassed contemporary movement, ‐ a Minuet in Op.2 No.1 in F minor and a
expectations. While the ‘Quartetto serioso’ Op.95 (the Scherzo in No.2 in A major and No.3 in C major. The first
title ‘exceptionally’ originated with Beethoven himself) two sonatas of the set contain material taken from an
contains in its concentration of musical expression many early piano quartet of 1784 (WoO36) and the opening
private‐introspective features, these are largely missing bars of Op.2 No.3 also have the texture of quartet
in the late works. They look outward to the listener, writing.
albeit to a listener shaken by unprecedented formal
riches and musical breaches. The Op.7 Grande Sonata in E flat of 1796‐7, dedicated to
his pupil Countess Babette von Keglevics, is one of the
Musically and compositionally the quartets Opp. 127, longest of all his sonatas and the dramatic silences and
130, 131, 132 and 135 are closely related. They were abrupt dynamic changes in the Largo were to become a
written in rapid succession, sometimes characteristic of his work. The first two sonatas of the
contemporaneously, between 1822 and 1826, so that Op.10 set return to the three movement format and
the opus numbers (assigned upon publication) do not Op.10 No.1 in C minor may have been modelled on
agree with the order of composition. Two quartets in the Mozart’s sonata K475 in the same key. Its final
conventional four movements –Op.127 and Op.135– movement contains an echo of the four note motif that
frame three quartets that gradually move further away was to play a prominent part in another C minor work,
from the convention: five movements in Op.132, six the Fifth Symphony. Op 10 No.2 in F major omits a slow
movements with a fugal finale in Op.130, and seven movement with a minuet‐like Allegretto between a
interconnected sections in Op.131. Tonal relationships Haydnesque Allegro and a mock fugal Presto. Op.10 No.3
extend beyond individual quartets, and the three middle in D major returns to a four movement structure at
quartets are further connected by thematic links. whose heart is a powerful Largo e mesto which,
according to Beethoven, “expressed a melancholic state
The quartets Opp. 130 in B flat major, 131 in C sharp of mind”. The intensity of this movement, prefiguring
minor and 135 in F major sum up in different ways the great slow movements to come, is balanced by the
Beethoven’s late quartet production. The ‘monster of light‐hearted aspect of the other movements. The key
quartet music’ in B flat major –as Schindler called it– relationship across the three Op.10 sonatas suggests
originally culminated in a great fugue that followed a that Beethoven may have envisaged them as a unified
sonataform first movement interrupted by frequent whole.
breaks, then three fully formed ‘unproblematic’
movements (Presto, Andante and Alla danza tedesca) The Op.13 sonata in C minor, the Grande Sonata
and a cavatina, whose roots lie in vocal music. The fugue Pathétique, is the first of Beethoven’s works to have
brings the work to a close in three respects: its length achieved general popularity. It is also one of the very few
corresponds to that of the five previous movements of his works whose title was given to it by the composer
combined, the ‘crisis of sonata form’ from the first himself. It is an example of a “characteristic“ work
movement is resolved by the combination of sonata designed to evoke a particular mood –in this case
41

pathos– but whether it has any connection with the lending a more sinister aura to the music. A hesitant
death of his childhood friend Lorenz von Breuning Allegretto is followed by the headlong rush of the Presto
around the time of its composition is a matter of agitato, which one suspects may have disconcerted his
speculation. The sombre Grave and urgent Allegro pupil, the young Countess Giulietta Giucciardi, to whom
sections of the first movement contrast with the serene Beethoven dedicated the sonata and whom he had
Adagio Cantabile that follows. The Rondo Finale contains hopes of marrying (vain hopes, as with all his
material that was originally sketched for a piano trio matrimonial expectations). He had in fact intended to
showing Beethoven’s capacity for adapting musical ideas dedicate the much easier Rondo in G Op.51 No.2, to her
originally conceived for other instrumental forces. but at the last moment had presented that work to
Countess Lichnowsky, wife of his principal patron (the
The two Op.14 sonatas which followed rapidly on the dictates of the head overcoming those of the heart on
completion of the Pathétique (although partly sketched that occasion).
some time before) are in complete contrast to its mood.
Neither sonata has a genuine slow movement, the The final sonata in the 1801 group, Op.28 in D major is
Andante of Op.14 No.2 being a brisk march‐like set of known by equally unauthentic but more apposite title
variations, marking his first use of this form in a sonata. “Pastoral”, characterising its gentle lyricism and relaxed
He subsequently arranged No.1 as a string quartet mood (although unlike the symphony there are no actual
transposing the key to F to suit stringed instruments. rustic intrusions). Czerny claimed that the wistful D
Beethoven himself thought very highly of the Op.22 minor Andante was one of Beethoven’s favourite
sonata in B flat although it appears to be a much more movements.
conventional work than its predecessors. The Allegro con
brio, constructed out of the material of the restless The three Op.31 sonatas were written during the crisis
opening bars, is an example of Beethoven’s ability to year 1802 when he suffered depression and anguish
dispense with melody when he wished to. The Andante over his increasing deafness but as with the other
con espressione lacks the concentrated intensity of the compositions from that period, they show no outward
slow movements of either Op.10 No.3 and the signs of any emotional turmoil. Unlike previous
Pathétique and the rather formal minuet looks back to groupings under a single opus number, the Op.31 set
the previous century. does not seems to have been conceived as a unity.
Op.31 No.1 in G major displays a rhythmic oddity in the
The group of four sonatas composed in 1801 see a first movement as if the player cannot quite synchronise
marked development in his treatment of sonata form. both hands. The lavishly decorated Andante grazioso is
Op.26 in A flat major is structurally unusual, beginning followed by a Rondo finale which heavily influenced
with an Andante movement in variation form (after Schubert’s Sonata D595. Op.31 No.2 is in D minor a key
Mozart’s K331) followed by a vigorous Scherzo. The third Beethoven used only once again in the Ninth Symphony.
movement “Funeral March on the Death of a Hero” His remark reported by the (often unreliable) Schindler
prefigures the slow movement of the Eroica Symphony that one should “read Shakespeare’s Tempest” in
and its repeated notes, insistent dotted rhythms and relation to this sonata has led to much unnecessary
“drum roll” tremolos combine to produce an almost programmatic speculation. The turbulent first
symphonic texture (the movement was subsequently movement is punctuated by the mysterious rising
orchestrated for “Leonora Prohaska” in 1815 and an arpeggio with which it opens and arpeggios are a
arrangement of it for brass band was played a recurring feature of this sonata: at the beginning of the
Beethoven own funeral). In complete contrast, the Largo, in the accompanying “galloping” figures of the
scurrying finale was, according to Czerny, an imitation of hectic finale and finally as a descending arpeggio in the
the style of the virtuoso J. B Cramer who had visited closing bars to mirror the opening. Op.31 No.3 in E flat
Vienna a few years previously. major is a more straightforward four movement work.
The recurring three note motif with which it opens may
The two Op.27 sonatas are entitled “Quasi una fantasia” be derived from the song “Der Wachtelschlag ‐ The Quail
as if to underline their departure from conventional Call” (WoO129) written about the same time. After a
sonata form. The four movements of Op.27 No.1 are light‐footed Scherzo and gracious Minuet, the sonata
designed to be played without a break and the first ends on a boisterous Presto con fuoco in 6/8 time.
movement has an unusual Andante‐Allegro‐Andante
structure with an abrupt change of key in the middle The opus number given to the next two sonatas, Op.49
section. The reappearance of material from the slow Nos. 1 and 2 is very misleading as they were written in
movement towards the end of the finale is a unifying 1797 and 1796 respectively and only published in 1805
device increasingly used by Beethoven. The first along with other early works. His usage of material from
movement of Op.27 No.2 is perhaps the most famous the Tempo di Menuetto of Op.49 No.2 in the Wind
piece of music written for the piano. Septet Op.20 of 1799 suggests that it at least was not
originally intended for publication. Each is a short two‐
Unfortunately it is almost impossible to disassociate it movement work and they are known as the “Easy
from the image conjured up by Rellstab’s evocative but Sonatas” although with Beethoven nothing should be
entirely unauthentic title “Moonlight”. The brooding taken for granted.
triplets of the first movement actually recall the dying
Commendatore in Act 1 of Mozart’s Don Giovanni,
42

The Op.53 Sonata in C major, the “Waldstein”, begun in produced at Beethoven’s convenience. However it did

1803 when Beethoven was sketching the Eroica not seem to be convenient for him to take up this
Symphony is the first of the so‐called ”middle period” commission until 1809 by which time he had already
sonatas characterised by their grandeur of scale and embarked on a very personal work. In the spring of that
conception. He had recently taken delivery of a new year Archduke Rudolph, now his main patron, had been
Erard piano with an extended keyboard and he makes forced to leave Vienna by the French invasion and in
occasional forays into the hitherto unknown territory of response to his departure, Beethoven wrote a single
its extremities. The first movement is marked by sonata movement in E flat entitled “Das Lebewohl” (The
contrasts: in its dynamics, the movement between the Farewell). The syllables of that word are written above
upper and lower registers and between the subdued but its opening notes which provides the main motif for the
relentless rhythm of the opening theme and the serenity movement. He later completed two other movements,
of the second subject. Beethoven had originally entitled “Die Abwesenheit” (The Absence) and “Das
composed a long Andante movement but replaced it Wiedersehn” (The Return) evoking the appropriate mood
with a short 28 bar Introduzione with a fragmentary without being in any way programmatic (although
theme which moves straight into the Rondo finale (the Beethoven insisted on the inclusion of all the
original slow movement was published separately as the extramusical references in the printed edition). Together
Andante favori,WoO57). The is characterised by the they make up the sonata Op.81a.
extreme virtuosity of the writing especially in the
prestissimo coda with its long trills, octave glissandos In the autumn of 1809, he turned his attention to the
and abrupt changes of dynamics. Beethoven dedicated works he had promised Clementi and produced two
the work to his old patron Count Waldstein but whether short sonatas Op.78 in F sharp major and Op.79 in G
this was in grateful memory of his support over ten years major (referred to as a Sonatina in the printed edition).
previously in Bonn or was prompted by some more Op.78, dedicated to Therese von Brunsvik, is a two
recent benefit is unknown. movement work, the amiable first movement prefaced
by a brief Adagio cantabile and the second a fast flowing
Between the two giants of the “Waldstein” and the Allegro emerging from a jaunty introductory statement.
“Appassionata” sits the unconventional, two movement Op.79 looks back to the age of Haydn and Mozart in its
Op.54 in F major. The Tempo di menuetto first first movement, a guileless Presto marked “alla tedesca”
movement starts out as if it were a genteel minuet but ‐in the style of a German dance‐ and forwards to
develops into a rondo‐like alternation of a progressively Romanticism in the second movement’s languid
elaborated dance theme and a rowdy, heavy footed barcarolle. The third movement, a miniature perpetuum
passage which lingers beneath the “perpetual motion” mobile, ends almost before it has begun.
Allegretto.
After this brief return to the sonata form, Beethoven
The gestation period of the Op.57 sonata in F minor, the abandoned it once more, this time for five years. The
“Appassionata”, was relatively long for a piano work of two movement Op.90 in E minor was written for (or at
this period. Beethoven had begun sketching it in 1804 least dedicated to) Count Moritz Lichnowsky on the
but progress was interrupted by work on Fidelio and it occasion of his marriage to a woman of lower social
was not completed until 1806, most probably while he status than himself (the opposite of Beethoven’s usual
was staying at Lichnowsky’s castle in Graz. He certainly predicament in these matters). Beethoven is supposed
had the manuscript with him on that occasion and the to have told him that the first movement represents “a
water damage still evident on its cover page may have struggle between the heart and the head” and the
been inflicted when he stormed from the castle during a second E major Rondo “a conversation with the
torrential downpour following his refusal to entertain beloved”. Beethoven who was now beginning to give
Lichnowsky’s guests. tempo and expressive instructions in German rather
than Italian marks this movement “Nicht zu geschwind
The muted sepulchral opening theme, descending to the und sehr singbar vorzutragen”, not too fast and with a
lowest note of the existing keyboard, is punctuated by a very singing tone”.
recurring four note motif, indelibly associated with the
opening of the Fifth Symphony. After a series of In the Op.101 sonata in A major of 1815 Beethoven
vehement outbursts, it is magically transformed into the begins the process of shifting the centre of gravity of his
lyrical second subject. The second movement provides a works towards their end by shortening the opening
refuge from the vehemence of the outer movements in movement or movements. The relatively brief first
the variations on a simple melody before moving, movement which Beethoven described as “impressions
without a break into the relentless finale which and reveries” is followed by a Vivace march with a more
Beethoven drives even harder in the Presto coda. introspective Trio and a fleeting Adagio marked
“Langsam und sehntsuchtvoll” –slow and full of longing.
Beethoven had produced or worked on at least one A recollection of the opening movement leads straight
sonata each year since 1795 but after the completion of into the Allegro finale (which is almost as long as the
the “Appassionata”, he abandoned the form for three preceding ones together) whose elaborate fugal and
years. In 1807,Muzio Clementi who had acquired a contrapuntal writing recalls Bach. The sonata was
number of works for publication in England where he published in a volume of works designed to serve as
was based, commissioned up to three sonatas to be models of their kind and was dedicated with a fondness
43

to his pupil Dorothea Ertmann, who had developed a is transformed by increasingly ecstatic, shimmering
reputation for her performances of Beethoven’s works. passage work before a return to the calm stasis of its
opening bars.
The period between the completion of the Eight
symphony in 1812 and the beginning of the Missa
Solemnis in 1819, during which Beethoven was dogged
by illness, depression and the ongoing legal battle over
the guardianship of his nephew Karl, was one of relative XV. MUSIC FOR SOLO PIANO
creative inactivity. While he composed a few works of Apart from the thirty two sonatas Beethoven produced a
great originality ‐the Op.90 and 101 sonatas, the Op.102 large body of work for solo piano including several sets
Cello sonatas, the song cycle “An die ferne Geliebte”– of variations , three sets of bagatelles, various rondo,
these were intimate pieces far removed from the epic allegretto and minuet movements, the Fantasia in C,
scale on which he had previously been working. Op.77, the Andante Favori WoO57 (originally composed
However in 1817 he began to sketch a sonata which he as a slow movement for the Waldstein Sonata) and the
confided to Czerny he considered to be his greatest and Polonaise in C, Op.89, (written for the Empress of Russia
which in its unprecedented scale and massive and presented to her at the Congress of Vienna). The
conception remains unrivalled in the genre. variation form, which he used widely throughout his
works, exercised a particular fascination for Beethoven
The Op.106 sonata in B flat major has become known as and he produced a total of twenty sets, from his first
the “Hammerklavier” because Beethoven, in keeping recorded composition ‐ the Variations in C minor on a
with his adoption of German language markings, insisted march by Dressler, WoO63, of 1782 to the majestic
that the publisher use the German word for the Diabelli Variations Op.120, completed in 1823. Most
instrument on the title page (although Op.101 had also date from the early part of his career and are based on
been designated in this way the title became applied themes taken from operas or ballets by contemporary
only to its successor). Beethoven received a Broadwood composers including Paisiello, Grétry, Salieri and
piano from London during the composition of this work Süssmayer. However after 1800, Beethoven began to
but at too late a stage to have any radical effect on it. use original themes and these works usually are dignified
The theme of the opening bars taken from a projected with opus numbers (apart form the Thirty Two
choral work for the name day of Rudolph (to whom Variations in C minor, WoO80, which for some reason
Beethoven dedicated the piece) and the words “Vivat he later rejected). Beethoven was proud of his
Vivat Rudolphus” can be heard behind the acclamatory achievement in developing the variation form beyond
chords. This is immediately followed by a contrasting the mere decoration of a popular tune and wrote to
lyrical motif and the movement is built out of a fusion of Breitkopf and Härtel that the Op. 34 and 35 sets had
these opposites. The second and third movements as in been worked out “in an entirely new manner”. Op.34 on
the Ninth Symphony are a Scherzo and an immense, an Original Theme in F is made up of a theme and eight
meditative Adagio, one of the longest Beethoven wrote, variations (although the publishers, unused to
in variation form which anticipates the slow movements Beethoven’s “new manner” of treating the variation
of the late quartets. The finale is introduced by a Largo in form, could at first only count six) in different keys,
which Beethoven dispenses with bar lines and simply descending by a third each time, and in a variety of time
instructs the player to count in semiquavers which leads signatures.
straight into the massive fugue.
The Op.35 set is based on a theme from his ballet music
The next three sonatas, from the period 1820 to 1822 Die Geschöpfe des Prometheus (Op.43) of 1801, from
see Beethoven extending but not entirely breaking free which they are often known as the Prometheus
from the boundaries of the traditional sonata. The first Variations, Beethoven’s preferred designation (although
movement of Op.109 in E major was originally intended they are also referred to as the “Eroica” Variations after
as a contribution to a piano tutor volume which may the use of the theme in the final movement of that
explain its unusual alternation of Vivace and Adagio symphony). This time all the variations are in the same
Sostenuto. The central Prestissimo movement is followed key of E flat but the set is much elaborately structured. It
by an extended Andante in theme and variations form to opens with a skeletal treatment of the bass line to which
be played “mit innigster Empfindung – with innermost parts are gradually added in counterpoint during the first
feeling”. The Op.110 in A flat continues the dismantling three variations before the theme eventually makes its
of the sonata structure by following a Moderato appearance (a device Beethoven repeated in the finale
Cantabile movement and short Molto Allegro with a of the Eroica symphony by which time his audience must
movement which combines and alternates passages of have been familiar with it). After successively elaborate
Adagio, Recitative, Arisoso Dolente and Fugue. In what variations of the theme, the bass line returns to supply
was to be his final sonata, Op.111 in C minor Beethoven the subject of an extended fugue to be followed by an
returns to a two movement structure which embody and Andante con Moto set of double variations and a brief
sum up the contrasting musical elements of the genre – coda.
sonata form and variations, major and minor, Allegro
and Adagio. After a first movement of immense power In 1803 he wrote two sets of variations on “God Save
and rigour, Beethoven embarks on an extended the King”, WoO78, and “ Rule Britannia”, WoO79, his
variations movement in which the simple arietta theme admiration for Napoleon, which at this time remained
44

undiminished, not preventing him from holding the The poet and playwright, Georg Treitschke was brought

English in great respect. Beethoven returned to the in to make further radical alterations to the opera’s
variation form at the end of his life when in 1820 the structure and dramatic content and Beethoven
publisher Anton Diabelli invited several composers, thoroughly revised the score and composed yet another
including Schubert, Czerny and the young Liszt to overture. The trio “Ein mann is bald genommen” and the
provide a variation on a waltz theme he had written for duet between Leonore and Marzelline (Im der Ehe froh
inclusion in a composite work representing a zu leben) were cut, thus reducing even further the
compendium of German music. Although Beethoven was domestic “Singspiel” elements, and the order of the
dismissive of Diabelli’s theme, referring to it as a opening numbers was reversed so that the opera now
“cobbler’s patch”, he spent the next three years working began with Marzelline’s and Jacquino’s duet (Jetz,
on a monumental set of thirty two variations in which he Schätzchen, jetz sind wir allein) rather than Marzelline’s
deconstructed and reconstructed the simple waltz in spoken dialogue and aria. Leonore’s Act I scene was
every possible tempo, key variation and musical style, substantially remodelled with Beethoven adding the
both serious and amusing as in the parody of Leporello’s dramatic recitative “Abscheulicher! Wo eilst du hin?”
aria “Notte e giorno faticar” in variation 22. after the first performances, and Florestan was given his
angelic vision with its soaring oboe accompaniment at
the end of his opening aria. The most radical changes
were to the final scenes of each act: in the first act, a
conventionally rousing chorus of soldiers and guards was
XVI. WORKS FOR THE STAGE replaced by a more muted and complex musical
When Emanuel Schikaneder appointed Beethoven as accompaniment to the prisoners’ return to the cells.
composer‐in‐residence at the Theater an der Wien at the
beginning of 1803, it opened the door for Beethoven to The action of the second scene of Act 2 was brought
fulfil his long cherished ambition to write an opera. He from the dungeons to the courtyard where the chorus
had already studied techniques of vocal composition greet the arrival of Don Ferrando. This allows the opera
with Salieri and composed a few pieces for voice and to end in a blaze of light but introduces a pause in the
orchestra on an operatic scale including, ‘Tremate, empi, action whose length depends on the technical capability
tremate” (Op.116) and “Nei Giorni tuoi felici” (WoO93) of the theatre to effect a quick scene change. There was
but apart from a contribution to Umlauf ’s singspiel “Die also severe compression of the action after Pizzaro’s
Schöne Schusterin” in 1795, he had written nothing departure so that Leonore and Florestan launch
specifically for the operatic stage. The Roman subject immediately into their ecstatic duet “O namenlose
matter of Schikaneder’s preferred libretto, “Vestas Freude’ (set to music originally composed for the
Feuer” did not inspire him and he gave up after unfinished “Vestas Feuer”) now secure in the knowledge
struggling with it for a year. He was more inclined that rescue is at hand. In the previous versions, Rocco
towards heroic opera in the French style and in 1804 he had disarmed Leonore before departing with Pizarro,
found the perfect text: “Leonore ou l’Amour conjugal” leaving them in doubt as to what was going to happen to
which treated subjects dear to his heart ‐ the triumph of them. In the final scene, certain plot issues are given a
liberty over oppression and the love between wife and cursory treatment. Pizarro is summarily dismissed from
husband. However it took three attempts for the opera the action ‐previously he was condemned to take
to reach the form in which it is known today. The first Florestan’s place in the dungeon‐ and Rocco’s rather
two versions of 1805 and 1806 are generally referred to dubious participation in the preceding events is glossed
by the title “Leonore” and the final 1814 version as over. Instead the focus is wholly on the positive: the
“Fidelio”. Beethoven seems to have preferred the reuniting of friends, the acknowledgement of Leonore’s
former title but the theatre management apparently bravery and constancy and the final celebration of wifely
insisted on the latter to avoid confusion with the other virtue. Beethoven provided yet another overture – the
operas by Gaveaux (1798), Paer (1804) and Mayr (1805) fourth he had written for the opera if one includes the
which set the same text. After the first disastrous work known as Leonore No.1 written in 1807 for an
performances of 1805, Beethoven, with help from his unrealised production in Prague and only published after
friend Stephan von Breuning,made various structural his death. Unlike the overtures he composed for the
changes designed to increase its dramatic effect. Acts 1 1805 and 1806 versions, known as Leonore No.2 and
and 2 were amalgamated and Rocco’s Act 1 aria (Hat Leonore No.3, the Fidelio overture is unrelated to the
man nicht auch Gold beneiben) omitted in order to music of the following dramatic action and its brevity
speed the introduction of Leonore and Pizarro and and lightness of tone leads naturally into the cosy
advance the action. The revised version fared no better domestic scene with which the opera opens.
and was withdrawn by Beethoven after only two
performances following a dispute with the management Act I
over his share of the receipts. Interest in staging the The events of the opera take place in a castle near Seville
opera was revived in 1814 as a result of the renewed (to where the play’s author, Bouilly transferred the
popularity of Beethoven’s music after the massively action from Tours where he claimed the actual incident
successful performances of The Battle Symphony and on which he based the story took place). It begins on a
the Seventh Symphony. light note with a duet between Marzelline, daughter of
the chief jailer Rocco and his assistant Jaquino, whose
attempts to persuade her to accept him as a husband
45

she politely but firmly rebuffs. She takes advantage of recitative (Gott, welch Dunkel hier) he accepts his fate as
his periodic absences to answer knockings at the prison the will of God and in the following aria (In des Lebens
door, to confess that she is attracted to Fidelio, the Frühlingstagen) he has an ecstatic vision of Leonore
young man who has recently entered her father’s which quickly fades. Leonore and Rocco enter and in the
service. (Jetz, Schätzchen, jetz sind wir allein). Jaquino’s melodrama episode begin to prepare a grave (Wie kalt
departure allows her to express her feelings of love for ist es). As Rocco talks to Florestan, Leonore thinks she
Fidelio unaware that he is really the disguised Leonore, recognises her husband’s voice but feels she must help
wife of a political prisoner held in the castle (O war ich the prisoner whoever he is and offers him food (Nur
schon mit dir vereint). Rocco and then Fidelio enter and hurtig fort nur frisch gegraben) . In the trio (Euch werde
Rocco expresses his appreciation for the “young man’s” Lohn in bessern Welten), Florestan expresses his thanks
work and hints that he is aware of Marzelline’s love for for this act of compassion, Rocco his powerlessness to
him. In the canon quartet (Mir ist so wunderbar) each alter the situation and Leonora, who remains
character expresses their feelings at the situation ‐ unrecognised by her husband, her hope for his salvation.
Rocco, Marzelline and Jaquino, their different reactions Rocco signals to Pizarro that all is ready and in the
to the potential union of the young couple, Leonore her quartet (Er sterbe) Pizarro reveals his identity to
misgivings at the situation and her fears for her husband. Florestan and his murderous intent towards him.
After Rocco’s aria praising the virtues of money, cut from However before he can strike, Leonora stand in his way
the 1806 version but restored to the 1814 version after with a loaded pistol and to the general astonishment
its first performances (Hat man nicht auch Gold reveals herself a Florestans’ wife. At this point, a distant
beneiben), Leonore questions him about the prisoners trumpet sounds twice, signalling the approach of Don
and on learning that there is a special prisoner whom Ferrando and the action freezes as each takes in its
Rocco alone must attend she begs to be allowed to significance. The quartet is resumed briefly as Leonore,
accompany him when he next visits him. In the trio (Gut, Florestan and Pizarro recognise that the tables have
Söhnchen, gut) Rocco and Marzelline reflect on Fidelio’s been turned. Pizarro and Rocco leave and Florestan and
qualities as a potential son‐in‐law and husband while Leonore express their joy at being reunited in their
Leonore screws up her courage for the test to come. A surging duet (O namenlose Freude). The second scene,
short march heralds the entrance of the Governor transfers the action from the darkness of the dungeon to
Pizarro and his guards. He is alerted to the imminent the sunlight of the castle’s parade ground where the
arrival of the minister of State, Don Ferrando, on a visit chorus of soldiers, guards and prisoners greet Don
of inspection and realises that he must act quickly to Ferrando (Heil sei dem Tag) who announces that he is
dispose of his enemy Florestan whom he has been there to set right past injustices (Des besten Königs Wink
slowly starving to death in the castle dungeon. He exults und Wille). Rocco brings forward Leonore and Florestan,
over his coming act of vengeance (Ha welch’ ein still in his chains, and Ferrando recognises the friend
Augenblick!) in which he hints that at once their whom he believed dead. Pizarro’s attempts at an
positions had been reversed (the precise circumstances explanation are brushed aside and he is led away to an
of the enmity between Florestan and Pizarro remains undisclosed fate. Leonore frees her husband and all are
unexplained) and posts a trumpeter in the tower to warn struck by deep emotions (the music for the profoundly
him of Ferrando’s approach. His attempts to bribe Rocco moving moment when she removes Florestan’s fetters is
to murder Florestan meet with refusal although Rocco another borrowing from the Joseph cantata). All join in
agrees to assist Pizarro in his murderous act on the celebrating the triumph of liberty over oppression and
grounds that Florestan’s death will be a release from his the joys of married love. The final chorus contains words
suffering (Jeztz, Alter, Alter, jetzt hat es Eile). Leonore from Schiller’s “An die Freude” which Beethoven had
who has overheard at least some of this conversation from the outset insisted on including but which were so
vents her anger at Pizarro and calls on Hope to bolster sadly inaccurate as far as his own life was concerned:
her courage (Abscheulicher! Wo eilst du ihn.... Komm “Wer ein holdes Weib errungen, stimm in unsern Jubel
Hoffnung lass den letzten Stern.). She asks that the ein!!” ‐ Who calls such a wife his own, join in our song of
prisoners be allowed out of their cells to enjoy the joy.
daylight (originally it was Marzelline who did so) and
their groping towards the sunlight is expressed the His experience with Fidelio did not put Beethoven off the
moving chorus (O welche Lust) Leonore learns that she prospect of writing another opera and among the many
has been given permission to accompany Rocco to the unrealized projects were “Macbeth” in collaboration
dungeon of the unknown prisoner and that his fate is with Heinrich von Collin in 1807 and “Melusine” on a
sealed (Nun sprecht, wie ging’s). Pizarro enters, furious libretto by Franz Grillparzer in 1822. He also wrote a
that the prisoners have been allowed out. Rocco’s number of works designed to accompany stage works
excuse that the occasion of King’s birthday permits the including the overture to Collin’s “Coriolanus”, an
concession, seems to satisfy him (Ach Vater,Vater eilt) overture and incidental music for Goethe’s “Egmont”
but the prisoners are forced to return to their cells (Leb and music for Kotzebue’s one‐act plays “König Stephan”
wohl du warmes Sonnenlicht). and “Die Ruinen von Athen”. The Coriolanus overture
was written in 1807 possibly for a single performance on
Act II 24th April of that year and is a miniature drama in itself,
The act opens in the darkness of the dungeon where evoking the mood rather than the events of the play.
Florestan lies in chains (the music of the introduction Goethe’s “Egmont” deals with the struggle of the 16th
comes from his early Joseph Cantata of 1790). In the century Dutch led by Count Egmont to free themselves
46

from Spanish rule and Beethoven’s incidental music of between the news of Joseph’s death and the proposed
1810 consists of the overture, now a popular concert performance date, it is very likely that Beethoven simply
work, and nine movements. These comprise two songs did not complete it in time (not the last occasion this
for Clärchen, Egmont’s lover, music for her death scene would happen). However, the fact that he was
(she took poison after an unsuccessful attempt to rescue subsequently commissioned to write a second cantata to
Egmont) and the melodrama in which she appears to celebrate the accession of Leopold II suggests that he
Egmont in a vision prophesying freedom for the people escaped blame or at least censure for this. Beethoven
after his own death, and the Victory symphony with never published either of the cantatas, probably because
which the play (and the overture) ends. The four he no longer possessed the scores, but he used the
entr’actes skilfully introduce the action of the succeeding Joseph Cantata in particular as a source of material for
scenes but caused a problem when published for concert later works, most obviously in Fidelio, in which the
performances as the music does not come to a cantata’s sombre introductory music reappears at the
conventional close. The publishers Breitkopf and Härtel opening of Act II and the setting of the words “Da
therefore had to employ other composers to add stiegen die Menschen ans Licht” at the point where
suitable endings. Leonore frees Florestan from his chains. Neither work
received a public performance in Beethoven’s lifetime
The music for ‘Die Ruinen von Athen” and “König and the Joseph Cantata eventually had its premiere in
Stephan” originally accompanied one‐act dramas on 1884 when Brahms declared: “Even if there were no
patriotic episodes in Hungary’s history and national name on the title page none other could be conjectured!
mythology written by August Kotzebue for the opening It is Beethoven through and through!
of the new theatre at Pest. The overture to “König
Stephan” features a recurring series of calls which Beethoven’s only oratorio, Christus am Ölberg (Christ on
interrupt a jaunty march and there is a hint of the music the Mount of Olives) Op.85, was composed rapidly in the
later used in the finale of the Ninth Symphony. The story spring of 1803 for his benefit concert in April of that
of “Die Ruinen von Athen” shows Mercury and Minerva, year. As with so many of his works which were written to
after finding Athens overrun by the Turks (giving meet a performance deadline, it was completed just in
Beethoven the opportunity to write a chorus of time and he was still writing or at least copying out the
Dervishes and a Turkish march) discovering that true trombone parts early on the morning of the
culture flourishes on the banks of the Danube. The music performance. Beethoven was following Haydn’s example
was later adapted and remodeled for the reopening of in producing an oratorio on biblical material for the
the Josepha Theater Vienna in 1822 for which Beethoven Easter concert season (The Seven Last Words of Christ,
composed a new overture in Handelian style. The Creation and The Seasons had been performed in
1796, 1798 and 1801 respectively) but his choice of
subject matter ‐Christ’s’ moment of doubt and anguish
in the Garden of Gethsemane before his arrest‐ is
unusual and may have been prompted by his emotional
XVII. CHORAL MUSIC crisis over and final acceptance of the fact of his
The death of Joseph II on 20th February 1790 was deafness. Beethoven commissioned the text from a
particularly mourned by the members of the minor poet Franz Xaver Huber and similarities between
Lesegesellschaft, the literary society that was the focal its language and that of the Heiligenstadt Testament
point in Bonn of the liberal and enlightened attitudes suggest that he influenced or even contributed to it.
which Joseph had fostered throughout the empire. They Although he recognised the text’s shortcomings, he was
decided to commission a cantata to honour his memory very reluctant to accept any of the changes suggested by
and turned to the nineteen‐year old Beethoven to Breitkopf and Härtel, when the work was eventually
provide a musical setting of a text by Severin Anton published in 1811, maintaining that the music and the
Averdonck (who by coincidence was the brother of the words formed an integral and coherent whole,
girl with whom Beethoven had shared the platform at notwithstanding the inadequacy of the latter. The music
his concert debut in 1783). This was Beethoven’s first is rather operatic in its style, reflecting Beethoven’s
major commission ‐his musical duties at court did not, recent studies with Salieri, and he later expressed
unlike Mozart’s in Salzburg, include the provision of doubts about the propriety of setting the words of
music for official occasions‐ and represented both a Christ, a tenor rather than the more usual bass or
challenge and an opportunity for him. Although he had baritone, in such a theatrical fashion. Indeed Christ’s
no experience of writing on this scale, he had spent the duet with the unbiblical Seraph, introduced into the
previous two years in the orchestra of the court theatre story to provide a female voice could be taken for an
and so would have had at least a practical knowledge of operatic love duet. The work has considerable dramatic
working with singers, chorus and large orchestral forces. force ‐the first version included stage directions‐ and the
The scheduled date for the performance was 19th March approach and entry of the arresting soldiers, culminating
1790 but for unspecified reasons, it never took place. in their cry of “Hier ist er!”, apparently had a great effect
The players and singers may have found the work too on the original audience.
difficult to rehearse and perform and certainly an
attempt by the Bonn court orchestra to mount a The few major choral works Beethoven produced fall
performance the following year was abandoned for that neatly into the three traditional periods into which his
reason. However given the extremely short period compositions are traditionally divided ‐ the imperial
47

cantatas into the early period, the oratorio and the Mass his wife’s name day in early September 1807 and
in C the middle period and the Missa Solemnis ushering Beethoven was well aware that his first attempt at a
in the great works of the late period. However, during mass setting would be compared with the six masses
the period between the completion of the Eighth previously produced by Haydn for the celebration of that
Symphony in 1812 and the commencement of the Missa event. Beethoven was understandably nervous at this
Solemnis, in which his musical output was otherwise prospect and admitted as much when he wrote to the
very limited he did manage to produce a number of Prince in July, promising delivery of the work by the 20th
pieces for voices for performance in connection with the of August 1807, perilously close to the performance
Congress of Vienna in 1814 of which the cantata “Der date. He gave various excuses for the delay including his
glorreiche Augenblick” (The Glorious Moment) Op.136, recent illness and even sent the Prince a copy of a letter
is the most spectacular. The work, on the bombastic text from his doctor to confirm this fact, which shows how
of Alois Weissenbach, catches the prevailing patriotic anxious he must have felt about his reputation for
and triumphalist mood at what was thought (pre‐ unpunctuality. In the event, the first performance at
Waterloo) to be the final downfall of Napoleon and the Eisenstadt on 13th September (the first Sunday after the
very specific circumstances of its composition as a piece Princess Maria’s name day) was not a success, possibly
d’occasion ‐with the personification of Vienna because it received inadequate rehearsal, and the Prince
addressing the European nations whose heads of state made no secret of the fact that he thoroughly disliked
were present in the concert hall at the premiere‐ have what Beethoven had written. Beethoven, who was
probably led to its subsequent neglect. The work is himself aggrieved that he had been given what he
scored on a large scale for mixed choir including children considered to be substandard accommodation at
and a quartet of soloists (tenor, bass and two sopranos) Eisenstadt, was in no mood to be conciliatory. He did not
and has significant concertante parts for solo cello and present the score to Esterházy and when it was
violin. eventually published in 1811 it was dedicated to Prince
Kinsky.
The other work of more lasting importance dating from
this period is the Op.112 cantata “Meeresstille und
glückliche Fahrt” (Calm Sea and Prosperous Voyage). MISSA SOLEMNIS
This is a setting for four part chorus and orchestra of two Not long after his last public appearance as a pianist in
poems by Goethe describing a becalmed ship and its 1815, Beethoven was regarded in Vienna as a musician
onward voyage as the wind returns. Beethoven began who by reason of his increasing deafness was gradually
sketching the work in 1813 but found himself becalmed becoming strange in his ways. Instead of seeking a
in the midst of its composition and did not manage to remedy for his chronic stomach and bowel ailments, he
complete it until 1815. sought refuge in excessive enjoyment of wine and in a
way of life which was characterized by domestic chaos
Apart from the final movement of the Ninth Symphony, and the total neglect of his external appearance. Having
Beethoven’s other significant work involving chorus is published only two small occasional works in 1818, he
the Choral Fantasia (Op.80). This was written as a last aroused the impression that he had "dried up" as far as
minute addition to the massive concert of December composition was concerned. The truth was, however,
1808 where it was intended to provide the grand finale that at a time of political and social change, he was
involving all the forces ‐chorus, soloists, orchestra and seeking a new way of remaining true to his artistic and
piano‐ which had been employed in the rest of the ethical principles: "For some time writing has not come
programme. After a long improvisatory passage for solo easily to me. I sit and think and think; I brood on it; but l
piano (extemporised by Beethoven at the performance) can’t get it down on paper. l dread the thought of
there is a hesitant exchange, between piano and starting such huge works. Once I've started then it's all
orchestra which leads into a series of variations on a right."
theme taken from the (then) unpublished song
“Gegenliebe” dating from 1794‐5. The similarity The history of the composition of his Missa Solemnis,
between the theme that of the Ode to Joy is marked as characterized by long struggles, seems to confirm this
is the manner in which the voices are introduced into self‐assessment; the gradual maturing of the work can
what had been up to that point a purely instrumental be followed through nine sketch‐books and took up four
work and Beethoven later explicitly acknowledged the and a half years. He began the composition of this
Choral Fantasia as the forerunner to that work. The text, "occasional work" when he was asked to write music to
which is different from the song from which the music is enhance a solemn ceremony: his pupil and patron
taken, has been attributed to Christoph Kuffner, for Archduke Rudolph of Austria was to be enthroned as
whose tragedy “Tarpeja” of 1813 Beethoven provided a Archbishop of Olmütz. "The day on which a High Mass of
Triumphal March (WoO2a). However its absence from mine is to be performed as part of the ceremony will be
Kuffner’s collected works, has led to doubt as to its the most splendid day in my life", Beethoven wrote to
source and other suggestions of its authorship include him in June 1819, "and God will inspire me to contribute
Georg Treitschke, who produced the final revision of the my weak powers to glorify this solemn day. "
libretto for Fidelio, and even Beethoven himself.
However, the consecration ceremony on March 20, 1820
The Mass in C (Op.86) was commissioned by Prince took place without Beethoven's music: exerting himself
Nikolaus Esterházy for performance on the occasion of almost to the point of despair, Beethoven let the work
48

grow beyond its true ceremonial purpose and wished, as in Christ's life, in that incarnation, crucifixion, death,

he declared himself, "to arouse and sustain religious resurrection and second coming are made dramatically
feelings in those who sing and those who listen" (letter visible and audible. In the music which makes the
of September 16, 1824). It was not until three years later transition from the solemnly‐visionary Sanctus to the
that he handed a carefully prepared copy to his pupil. Benedictus, Beethoven does not follow the decree issued
The first performance took place on April 18, 1824, in 1819, which prescribed "a soft Tantum ergo with
performed by the Philharmonic Society of St. Petersburg organ", but instead makes the orchestra imitate the
in a concert hall; on the occasion of Beethoven's great sound of the organ by means of slurred notes in wind
Academy concert in the Vienna Hoftheater on May 7, and low strings. One of the most moving scenes of the
1824 only the Kyrie, Credo and Agnus were played, whole Mass is the Dona nobis pacem within the Agnus
appearing on the programme before the Ninth Dei, at the beginning of which Beethoven made his
Symphony, while the first complete performance in famous "plea for internal and external peace". In almost
Austria (on June 29, 1830) was organized by the operatic style he introduces into the Miserere nobis, a
schoolteacher Johann Vincenz Richter in the little town short scene with murmuring timpani and fanfares and
of Warnsdorf on the Bohemian border to Saxony ‐ three paints an appallingly graphic picture of war raging away
years after Beethoven's death. with merciless force above the voices begging for peace.
© Uwe Kraemer, Translation: J & M Berridge
Dubious business transactions cast a shadow on the
reputation of the heavily indebted composer. At the
time he was living on the dividends from his eight bank
bonds and the pension granted to him by several
Viennese aristocrats, and had to bear the costs of XVIII. SONGS
boarding school for his nephew and the legal costs Although Beethoven is not primarily associated with the
arising from the disputes about his guardianship. In music for the solo voice, he produced a large number of
these financial straits he sold the score of the Missa songs throughout his life from the youthful “Schilderung
Solemnis several times to various publishers: in a kind of eines Mädchens”, WoO107 of 1783, to the Goethe
advance contract he initially received 900 guilders from setting “Der edle Mensch”, WoO151 of 1823. Most of the
the Bonn publisher Simrock, was paid 1.000 guilders by songs are written with piano accompaniment, but there
the Leipzig publisher Peters for the publishing rights, is a small number of concert arias, mainly settings of
then demanded an additional fee from Simrock and Italian texts, the best‐known of which is the Metastasio
finally agreed to give back part of the advance payment. setting “Ah perfido”, Op.46 of 1796. Between 1809 and
Even after the work had been sold he negotiated with 1816, Beethoven also produced a large number of
the publishers Diabelli, Probst, Schlesinger and Schott, to arrangements of mainly Scottish, Irish and Welsh folk
whom he eventually sold the Mass in 1825 for 1.000 songs with piano trio accompaniment for the Edinburgh
guilders. In addition he commissioned copyists to make publisher George Thomson, and twenty five of the
hand‐written copies which he then sold for 50 gold Scottish songs were later published separately as
ducats each to several European emperors and kings, so Op.108. Beethoven issued the majority of his songs
that in the end he made a profit of about 1.600 guilders. individually without opus numbers but he did produce
six collections, some of which are simply gatherings of
He studied the ancient church styles and the works of unconnected works, such as the eight songs from his
Palestrina and Bach in the Archduke's library, before Bonn period, published in 1805 as Op.52. Others have an
detaching the Mass from the Catholie High Office and internal unity and sense of purpose such as the Op.48
shifting the sacrosanct text into the context of his epoch. settings of six religious odes by Christian Fürchtegot
His assistant Schindler relates how he heard Beethoven Gellert. Beethoven composed them in 1802 not long
singing, howling and stamping behind a locked door after he suffered his intense spiritual crisis at
while composing the double fugue of the Credo: "After Heiligenstadt and whether or not this experience
we had listened to this quite dreadful scene for a long influenced his decision to set the Gellert poems is a
time and were about to leave, the door opened, and matter of conjecture (sketches for the third song “Vom
Beethoven stood before us with distorted features which Tode” exist from 1798). However there can be little
could fill one with fear. He looked as if he had just doubt that his most revolutionary and influential song
survived a fight to the death with the whole army of cycle, “An die ferne Geliebte” (To the Distant Beloved)
contrapuntists, his eternal adversaries." Op.98 of 1816, has its genesis in Beethoven’s unfulfilled
relationship some years before with the Immortal
The three‐part Kyrie, to be performed "devoutly", is set Beloved. Although the identity of this woman cannot be
as a pleading prayer, in which insistent calls are established with certainty, the most likely candidate is
combined with a passionate flow of melody. In the song Antonie Brentano who, at the time of the song cycle’s
of praise, the richly expressive Gloria arranged in four composition, was living with her husband in Frankfurt.
sections in the style of a rondo, he contrasts the Beethoven’s private writings and reported remarks to
individual texts by means of new themes and fills the friends show that he was still deeply affected by the
powerful Mass verse with thunderous jubilation at the impossibility of ever establishing a relationship with this
glory of God the Father. The difficulties of the Credo, the woman (whoever she was), and although songs
heart of the work, are solved in a convincing way: the addressed to an unattainable love object are a
confessional character becomes as clear as the stations commonplace of the period, it is difficult not to see “An
49

die ferne Geliebte” as issuing directly from Beethoven’s of the first song returning in the same key in the last and

experience. The six songs set unpublished texts by the the final phrase before the closing chord identical to the
poet Alois Jetteles and it is not known whether opening one. The songs blend into one another
Beethoven had any influence on their content (as he had seamlessly, both melodically and rhythmically, through
with the text for the Christus cantata, a work with transitional passages on piano or in the case of the third
equally personal associations). In the autograph score, and fourth songs in the vocal line. “An die ferne
he wrote the title as “An die entfernte Geliebte” (To the Geliebte” achieves an unparalleled through‐composed
lover who is now far away) which supports conjectures unity which had an enormous influence on the next
that the work is associated with his continuing feelings generation of “Romantic” composers, particularly
for Antonie. The published edition refers to it as a Schumann.
“Liederkreis” (song cycle) and like those of Schubert, “An
die ferne Geliebte” is genuinely cyclical, with the melody
50

Beethoven Edition sung texts

CD5
SYMPHONY NO.9:
Text of fourth movement: Presto, Allegro assai

ODE “AN DIE FREUDE“ ODE “TO JOY”
4. RECITATIVE
O Freunde, nicht diese Töne! Oh friends, not these tones!
Sondern laßt uns angenehmere Rather let us sing more
anstimmen und freudenvollere. cheerful and more joyful ones.

5. CHORUS
Freude! Freude! Joy! Joy!
Freude, schöner Götterfunken Joy, thou glorious spark of heaven,
Tochter aus Elysium, Daughter of Elysium,
Wir betreten feuertrunken, We approach fire‐drunk,
Himmlische, dein Heiligtum! Heavenly One, your shrine.
Deine Zauber binden wieder Your magic reunites
Was die Mode streng geteilt; What custom sternly divides;
Alle Menschen werden Brüder, All people become brothers
Wo dein sanfter Flügel weilt. Where your gentle wing alights.
Wem der große Wurf gelungen, Whoever succeeds in the great attempt
Eines Freundes Freund zu sein; To be a friend of a friend,
Wer ein holdes Weib errungen, Whoever has won a lovely woman,
Mische seinen Jubel ein! Let him add his jubilation!
Ja, wer auch nur eine Seele Yes, whoever calls even one soul
Sein nennt auf dem Erdenrund! His own on the earth's globe!
Und wer's nie gekonnt, der stehle And who never has, let him steal,
Weinend sich aus diesem Bund! Weeping, away from this group.
Freude trinken alle Wesen All creatures drink joy
An den Brüsten der Natur; At the breasts of nature;
Alle Guten, alle Bösen All the good, all the evil
Folgen ihrer Rosenspur. Follow her roses' trail.
Küße gab sie uns und Reben, Kisses gave she us, and wine,
Einen Freund, geprüft im Tod; A friend, proven unto death;
Wollust ward dem Wurm gegeben, Pleasure was to the worm granted,
Und der Cherub steht vor Gott. And the cherub stands before God.
Froh, wie seine Sonnen fliegen Glad, as his suns fly
Durch des Himmels prächt'gen Plan, Through the Heavens' glorious plan,
Laufet, Brüder, eure Bahn, Run, brothers, your race,
Freudig, wie ein Held zum Siegen. Joyful, as a hero to victory.
Seid umschlungen, Millionen! Be embraced, you millions!
Diesen Kuß der ganzen Welt! This kiss for the whole world!
Brüder, über'm Sternenzelt Brothers, beyond the star‐canopy
Muß ein lieber Vater wohnen. Must a loving Father dwell.
Ihr stürzt nieder, Millionen? Do you bow down, you millions?
Ahnest du den Schöpfer, Welt? Do you sense the Creator, world?
Such' ihn über'm Sternenzelt! Seek Him beyond the star‐canopy!
Über Sternen muß er wohnen. Beyond the stars must He dwell.
Seid umschlungen, Millionen! Be embraced, ye millions!
Brüder, über'm Sternenzelt Brothers, beyond the star‐canopy
Muß ein lieber Vater wohnen. Must a loving Father dwell.
Seid umschlungen, Be embraced,
Freude, schöner Götterfunken Joy, beautiful spark of the gods,
Tochter aus Elysium, Daughter of Elysium,
Freude, schöner Götterfunken Joy, beautiful spark of the gods

51

CD62 Der Fleiß verscheucht die Sorgen. JAQUINO

LEONORE Und ist die Arbeit abgetan, Und, und wenn mir dein Jawort nicht
Original version of Fidelio from 1805 dann schleicht die holde Nacht heran, fehlet,
Opera in three acts dann ruh’n wir von Beschwerden. was meinst du?
Music by Ludwig van Beethoven (1770‐ Die Hoffnung schon erfüllt die Brust
1827) mit unaussprechlich süßer Lust; MARZELLINE
Libretto by Joseph Sonnleithner after wie glücklich will ich werden! So sind wir ein Paar.
Jean Nicolas Bouilly’s Drama “Leonore”
First performance: 1805, Theater an 4. JAQUINO JAQUINO
der Wien Wenn ich diese Tür nicht heute schon Wir könnten in wenigen Wochen...
zweihundert Mal aufgemacht habe,
CAST will MARZELLINE
Don Fernando, the King’s Minister will ich night Jaquino heißen. Recht schön, du bestimmst schon die
baritone ‐ Endlich kann ich wieder Zeit.
Pizarro, governor of a state prison mit Marzelline reden. ‐ (Someone knocks)
baritone (Someone knocks)
Florestan, prisoner tenor Zum Wetter! Schon JAQUINO
Leonore, his wife, in male attire as wieder! Kann ich Zum Wetter das ewige Pochen,
Fidelio soprano denn von der Tür nicht wegkommen? da war ich so herrlich im Gang,
Rocco, chief jailer bass und immer entwischt mir der Fang!
Marzelline, his daughter soprano MARZELLINE
Jaquino, Rocco’s assistant tenor Ohne Zweifel will er mir wieder die MARZELLINE
First prisoner tenor Ohren von seiner So bin ich doch endlich befreit!
Second prisoner bass Liebe vorschwatzen. Ich muß ihn ein Wie macht seine Liebe mir bang,
für alle Mal es werden die Stunden mir lang.
ACT I abweisen, sonst läßt er wich nie in (Jaquino opens the door and accepts a
1. OVERTURE Ruhe. package)
THE COURTYARD OF THE STATE
PRISON JAQUINO MARZELLINE
FIRST SCENE (While appearing) Ich weiß, daß der Arme sich quälet,
Nun soll uns niemand mehr stören. es tut mir so leid auch um ihn!
2. MARZELLINE Fidelio hab’ ich gewählet,
(turns around to the door every time 5. NO. 2 DUET ihn lieben ist süßer Gewinn.
someone knocks) JAQUINO
Fidelio kommt nicht zurück! Jetzt, Schätzchen, jetzt sind wir allein, JAQUINO
Es ist kein Wunder; er hat so viel zu Wir können vertraulich nun plaudern. Wo war ich? Sie sieht mich nicht an!
laufen,
so viel zu bestellen. Seit einiger Zeit MARZELLINE MARZELLINE
hat es der Junge schwer. Es wird ja nichts Wichtiges sein, Da ist er ‐ er fängt wieder an!
‐ Heute muß mein Vater ich darf bei der Arbeit nicht zaudern.
endlich den Tag uns’rer Hochzeit JAQUINO
festsetzen. ‐ JAQUINO Wann wirst du das Jawort mir geben?
Wir wollen unser kleines Hauswesen Ein Wörtchen, du Trotzige, du! Es könnte ja heute ja heute noch sein.
so hübsch einrichten,
so hübsch! Fidelio bleibt MARZELLINE MARZELLINE
Schlüsselträger So sprich nur, ich höre ja zu. O weh! Er verbittert mein Leben !
und hat die Anwartschaft auf meines Jetzt, morgen und immer, nein, nein!
Vaters Dienst, JAQUINO Ich muß ja so hart mit ihm sein!
und ich, ich wasche für die armen Wenn du mir nicht freundlicher´
Gefangenen. blickest, JAQUINO
Da wird es immer vollauf zu verdienen so bring´ ich kein Wörtchen hervor. Du bist doch wahrhaftig von Stein,
geben. kein Wünschen, kein Bitten, geht ein.
Ach wär’ die Zeit schon da! MARZELLINE
Wenn du dich nicht in mich schickest, MARZELLINE
3. NO. 1 ARIA verstopf ich mir vollends das Ohr. Ich muß ja so hart mit ihm sein,
MARZELLINE jetzt, immer, und immer nein, nein!
O wär’ ich schon mit dir vereint, JAQUINO er hofft bei dem mindesten Schein.
und dürfte Mann dich nennen ! Ein Weilchen nur höre mir zu,
Ein Mädchen darf ja, was es meint, dann lass´ ich dich wieder in Ruh´. JAQUINO
zur Hälfte nur bekennen ! So wirst du dich nimmer bekehren?
Doch wenn ich nicht erröten MARZELLINE Was meinst du?
muß ob einem warmen Herzenskuß, So hab´ ich denn nimmermehr Ruh´; MARZELLINE
wenn nichts uns stört auf Erden. so rede, so rede nur zu! Du könntest nun geh’n!
Die Hoffnung schon erfüllt die Brust
mit unaussprechlich süßer Lust; JAQUINO JAQUINO
wie glücklich will ich werden! Ich, ich habe habe zum Weib dich Wie?
In Ruhe stiller Häuslichkeit gewählet, Dich anzusehn’n willst du mir wehren?
erwach’ ich jeden Morgen, verstehst du? Auch das noch?
wir grüßen uns mit Zärtlichkeit,
MARZELLINE MARZELLINE
Das ist ja doch klar! So bleibe hier steh’n!
52

JAQUINO SECOND SCENE Durch Eintracht nur der Herzen

Du hast mir so oft doch versprochen. ROCCO kann man zufrieden sein,
(Enters through the corridor and closes mit Ernst ist nicht zu scherzen,
MARZELLINE the door behind him) drum rat’ ich euch, sagt nein.
Versprochen? Nein, das geht zu weit! So habt ihr denn ewig miteinander zu
zanken? JACQUINO
JAQUINO Das heißt den Satan schwärzen,
Zum Henker das ewige Pochen! MARZELLINE sie willigt nimmer ein.
Er will, daß ich ihn liebe, daß ich ihn Sie scheint mir nicht zu scherzen
MARZELLINE heirate; sie sagt im Ernste nein.
So bin ich doch endlich befreit! sonst nichts, Vater.
Das ist ein willkommener Klang, MARZELLINE
es wurde zu Tode mir bang. JAQUINO Er spricht aus meinem Herzen,
Ja, das will ich. Fidelio wird mein,
JAQUINO dann will ich ernstlich scherzen,
Es ward ihr im Ernste schon bang; ROCCO dann sag’ ich nicht nein, nein!
wer weiß, ob es mir nicht gelang. (to Marzelline)
Und was sagst du denn dazu, ROCCO
6. MARZELLINE Marzelline? Durch Eintracht nur der Herzen
Höre, Jaquino. Ich muß dir rein heraus kann man zufrieden sein,
sagen MARZELLINE mit Ernst ist nicht zu scherzen,
wie mir ums Herz ist. ‐ Du bist ein Daß mir eines so unmöglich ist als das drum rat’ uch euch, sagt nein.
guter Mensch. Gewiß andere.
und wahrhaftig, Jaquino, aber wenn du JACQUINO
heiraten willst, ROCCO Das heißt den Satan schwärzen,
mußt du dich nach einem anderen Das ist bündig gesprochen. ‐ Ich werd’ sie willigt nimmer ein.
Mädchen umsehen. eine einzige Sie scheint mir nicht zu scherzen
Wir zwei taugen nun einmal nicht gute Tochter haben, werde sie sagt im Ernste nein.
füreinander. sie so gut gepflegt,
(strokes Marzelline under her chin) MARZELLINE
JAQUINO mit so viel Mühe bis in Er spricht aus meinem Herzen,
Jetzt hör auf und laß mich reden. ‐ Den ihr sechzehntes Jahr erzogen haben, Fidelio wird mein,
letzten und das alles ‐ für den Herrn da! dann will ich ernstlich scherzen,
Sommer habe ich von all der Ziererei (He faces Jaquino laughing) dann sag’ ich nicht nein, nein!
nichts gesehen, da war ich Nein, lieber Jacquino, ‐ von einer
dein lieber Jaquino her, dein lieber Heirat zwischen euch ist 8. ROCCO
Jaquino hin. ‐ Aber seit keine Rede, und überhaupt ist das Ist Fidelio noch nicht nach Hause
dieser Fidelio ins Haus gekommen ist, Heiraten keine Sache, die gekommen?
sieht man nur ihn, hört man so blind hin, ohne überlegung
man nur ihn, sucht man nur ihn, hat abtun kann. MARZELLINE
man nur von ihm den Kopf voll. Nein, Vater.
7. NO.3 TERZET (Someone knocks on the door)
MARZELLINE ROCCO
Ja, ich lieb’ ihn, ich leune es nicht, und Ein Mann ist bald genommen, JACQUINO
was das Schönste leicht nimmt man sich ein Weib, Ich komme schon, ich komme schon.
ist, er liebt mich wieder ‐ und wie er doch nach dem Zeitvertreib
mich liebt! kann bald die Reue kommen, ROCCO
ja, ja, die Reue kommen. Er wird vermutlich beim Schmiede so
JAQUINO Ist euch das Ja entfahren, langen haben warten
Schämst du dich nicht? ‐ Einen Jungen ihr Kinder, merkt euch fein, müssen.
liebst du, der, Gott dann hilft nach langen Jahren
weiß woher kommt, von dem niemand euch nimmer das Nein, Nein! MARZELLINE
weiß... Da ist er! Da ist er!
JACQUINO
MARZELLINE Mir soll ja nichts entfahren,
Man weiß recht gut, daß er Waise ist; bedächtlich schlag’ ich ein, THIRD SCENE
er selbst macht als wir alleine waren, As before, Leonore. (On her back she
kein Geheimnis daraus; und was tut da sprach sie nicht nein, nein! carries some provisions, on her
das zur Sache? Mit all dem wird armchains, which she lays down when
mein Mann werden, darauf kannst du MARZELLINE entering the cabin of the guard, on the
dich verlassen, und recht bald Mir soll es nicht entfahren, side a tin container on a string.)
wird er mein Mann, recht bald. das Ja der langen Pein,
ich will mir Gram ersparen, MARZELLINE
JAQUINO ich sage jetzt nein, nein! Lieber Gott, der Schweiß läuft ihm von
Und du meinst, ich werde das der Stirne.
geschehen ROCCO
lassen? ‐ Merke dir’s, da Bei frischen roten Wangen JAQUINO
geschieht ein Unglück! kann man wohl leicht erglüh’n. Das war notwendig, so schnell
doch läßt man sie verblüh’n, aufzumachen,
verblüht auch das Verlangen, den Patron hereinzulassen.
ja, ja, auch das Verlangen.
53

ROCCO JAQUINO Stolz und übermut und Rache

Mein armer Fidelio! Mir sträubt sich schon das Haar, werden schnell befriedigt sein.
der Vater willigt ein, Drum ist auch Fortuna den Reichen so
LEONORE mir wird so wunderbar, hold,
Ich muß gestehen ‐ ich bin ein wenig mir fällt kein Mittel ein. sie tuen ja nur, was sie wollen,
müde. ‐ verhüllen die Handlungen künstlich mit
Der Schmied hatte an den Ketten auch 10. ROCCO Gold,
so lange auszubessern, Höre, Fidelio, wenn ich auch nicht worüber sie schämen sich sollen.
daß ich meinte, es nehme gar kein weiß, Das Glück dient wie ein Knecht um
Ende. wie und wo auf die Welt gekommen Sold,
bist, es ist ein mächtig Ding, das Gold, das
ROCCO und wenn du auch gar keinen Vater Gold.
Sind sie jetzt gut gemacht? gehabt hättest,
so weiß ich doch, was ich tue, ‐ ich 12. LEONORE
LEONORE mache dich zu meinem Tochtermann Ihr könnt das leicht sagen, Meister
O ja, recht gut und fest, ganz gewiß. Rocco, aber ich,
Keiner der Gefangenen kann sie MARZELLINE ich behaupte, daß die Vereinigung
zerbrechen. Und das schon bald, lieber Vater? zweier
gleichgestimmten Herzen die Quelle
ROCCO ROCCO des
Wieviel kosten sie alle zusammen? Sobald der Gouverneur nach Sevilla des wahren Glückes ist.
gereist sein wird. Freilich gibt es noch etwas, was mir
LEONORE Dann haben wir mehr Muße, verstehst nicht weniger kostbar sein
Zwölf Piaster ungefähr. ‐ Da ist die du mich? würde, ‐ aber mit Kummer sehe ich,
genaue Note ‐ Du weißt ja, daß er alle Monate daß ich es trotz aller meiner
hinzureisen pflegt, Bemühungen nicht erhalten werde.
ROCCO um über alles, was hier im
Gut! Brav! ‐ Zum Wetter, da gibt es Staatsgefängnis vorgeht, ROCCO
Artikel, Rechenschaft zu geben. In wenigen Und was wäre denn das?
auf die wir wenigstens die Hälfte Tagen muß er fort,
gewinnen können! und den Tag nach seiner Abreise geb’ LEONORE
ich euch zusammen; Euer Vertrauen.Verzeiht mir diesen
LEONORE darauf könnt ihr rechnen. kleinen Verweis,
Ich tue, was mir möglich ist. aber oft sehe ich euch aus den
MARZELLINE unterirdischen Gewölben
ROCCO Den Tag nach seiner Abreise! Das hast des Schlosses ganz außer Atem und
Ja, du bist ein wackerer Junge; ich du recht vernünftig gemacht, Vater! ganz ermattet
habe dich auch mit zurückkommen; warum erlaubt Ihr mir
jedem Tage lieber, und sei versichert, LEONORE nicht, euch hinzubegleiten? ‐
dein Lohn soll (pretending to be happy)
dir nicht ausbleiben. Den Tag nach seiner Abreise! ROCCO
Du weißt doch, daß ich den strengsten
LEONORE ROCCO Befehl habe,
O denkt nicht, daß ich meine Ihr habt euch doch recht herzlich lieb, niemanden, wer es auch sein mag, zu
Schuldigkeit nur meine Kinder? den Staatsgefangenen
des Lohnes wegen ‐ ‐ Nicht? Das ist aber noch nicht alles, zu lassen.
was zu einem guten,
ROCCO vergnügten Haushalt gehört, man MARZELLINE
Meinst du, ich kann dir nicht ins Herz braucht auch ‐ Es sind ihrer aber so viele in dieser
sehen? (He makes a gesture as if counting Festung! ‐
money) Du arbeitest dich ja zu Tod, lieber
9. NO.4 CANON (QUARTET) Vater.
MARZELLINE 11. NO.5 ARIA
Mir ist so wunderbar, ROCCO LEONORE
es engt das Herz mir ein; Hat man nicht auch Gold beineben, Sie hat recht, Meister Rocco. ‐ Man soll
er liebt mich, es ist klar, kann man nicht ganz glücklich sein; allerdings seine
ich werde glücklich, glücklich sein. traurig schleppt sich fort das Leben, Schuldigkeit tun, aber es ist doch auch
mancher Kummer stellt sich ein. erlaubt,
LEONORE Doch wenn’s in der Tasche fein klingelt mein’ ich, zuweilen daran zu denken,
Wie groß ist die Gefahr! und rollt, wie man sich für die,
wie schwach der Hoffnung Schein! da hält man das Glück an dem die uns angehören und lieben, ein
sie liebt mich, es ist klar, Fädchen, bißchen schonen kann.
o namenloser Pein! ein Amt, hohe Würden verschafft dir (She presses one of his hands into
das Gold, hers.)
ROCCO Juwelen und reizende Mädchen.
Sie liebt ihn, es ist klar, Das Glück dient wie ein Knecht für MARZELLINE
ja, Mädchen, er wird dein, Sold, (Pressing Rocco’s other hand to her
ein gutes, junges Paar, es ist ein schönes, schönes Ding, das breast)
sie werden glücklich sein. Gold, das Gold Man muß sich ja für seine Kinder zu
Daß nur Gold im Beutel lache, erhalten suchen.
jedes Erdenglück ist dein,
54

ROCCO MARZELLINE MARZELLINE

(looks at both of them, moved) O lieber Vater, führe Fidelio ja nicht zu Ja, guter Vater, bitt ihn heute,
Ja, ihr habt recht, diese schwere Arbeit ihm, in kurzem sind wir dann ein Paar.
würde mir diesen Anblick könnt’ er nicht
doch endlich zu viel werden. Der ertragen. ROCCO
Gouverneur ist zwar Ich bin ja bald des Grabes Beute,
sehr streng, er muß mir aber doch LEONORE ich brauche Hilf, es ist ja wahr.
erlauben, dich in die Warum denn? Man muß sich an alles
geheimen Kerker mit mir zu nehmen. gewöhnen ‐ LEONORE
(an expression of intense happiness besonders in unserem Stande. ‐ O, ich Wie lang’ bin ich des Kummers Beute.
passes over Leonore’s face) habe Mut und Stärke. Du, Hoffnung, reichst mir Labung dar.
Unterdessen gibt es doch ein Gewölbe,
in das ich dich nie werde führen 13. NO. 6 TERZET MARZELLINE
dürfen, obwohl ich mich ganz ROCCO Ach! lieber Vater, was fällt Euch ein?
auf dich verlassen kann. Gut, Söhnchen, gut, Ach! lieber Vater, was fällt Euch ein?
hab immer Mut,
MARZELLINE dann wird dir’s auch gelingen, ROCCO
Vermutlich, wo der Gefangene sitzt, das Herz wird hart durch Gegenwart Nur auf der Hut, dann geht es gut,
von dem du schon einige gesprochen bei fürchterlichen Dingen. gestillt,
hast, Vater. gestillt wird euer Sehnen;
LEONORE
ROCCO (strongly) MARZELLINE
Du hast’s erraten. Ich habe Mut! O habe Mut, o welche Glut,
Mit kaltem Blut o welch’ ein tiefes Sehnen!
LEONORE will ich hinab mich wagen;
Ich glaub’, es ist schon lange her, daß für hohen Lohn kann Liebe LEONORE
er gefangen sitzt. schon auch hohe Leiden, Ihr seid so gut ihr macht mir Mut,
hohe Leiden tragen. gestillt wird bald mein Sehnen.
ROCCO
Es ist schon über zwei Jahre. MARZELLINE ROCCO
Dein gutes Herz wird manchen Gebt euch die Hand und schließt das
LEONORE Schmerz in diesen Grüften leiden, Band, in süßen Freudentränen.
Zwei Jahre, sagt Ihr? Er muß ein großer dann kehrt zurück der Liebe Glück
Verbrecher sein. und unnennbare Freuden. LEONORE
Ich gab die Hand zum süßen Band,
ROCCO ROCCO es kostet bittre Tränen.
Oder er muß große Feinde haben; das Du wirst dein Glück ganz sicher bauen,
kommt ungefähr auf eins heraus. MARZELLINE
LEONORE Ein festes Band, mit Herz und Hand.
MARZELLINE Ich hab’ auf Gott und Recht Vertrauen. o süße, süße Tränen.
So hat man denn nie erfahren können,
woher er ist, und wie er heißt? MARZELLINE
Du darfst mir auch ins Auge schauen; ACT II
ROCCO der Liebe Macht ist auch nicht klein. COURT YARD OF STATE PRISON
Ach, für unsereinen ist’s am besten, so 14. NO.7 MARCH
wenig Geheimnisse ROCCO During the march the main gate is
als möglich zu wissen, darum hab’ ich Du wirst dein Glück ganz sicher bau’n, opened by guards. Officers enter and
ihn auch nie ihn anhören ja, ja, wir werden glücklich sein, then Pizarro arrives.
wollen. Ich hätte mich verplappern wir werden glücklich sein
können, und ihm hätt’ 15. FIRST SCENE
ich auch nicht genützt, sondern LEONORE PIZARRO
vielmehr geschadet. ‐ Ich hab’ auf Gott und Recht Vertrauen, Drei Schildwachen auf den Wall, zwölf
Nun, er wird nicht mehr lange sich ja, ja, ja, ich kann noch glücklich sein, Mann Tag und
quälen müssen! ich kann noch glücklich sein. Nacht an der Zugbrücke, ebensoviele
Es kann nicht mehr lange mit ihm gegen den Garten zu.
dauern. MARZELLINE Und jedermann, der sich den Gräben
der Liebe Macht ist auch nicht klein, der Festung
LEONORE ja, ja, ja, wir werden glücklich sein, nähert, werde sogleich vor mich
Oh Gott! wir werden glücklich sein. gebracht.
Wo sind die Depeschen?
ROCCO ROCCO
Seit einem Monat schon muß ich auf Der Gouverneur, ROCCO
Pizarros Befehl seine Portion kleiner der Gouverneur soll heut’ erlauben, Hier sind sie.
machen. Jetzt hat er binnen daß du mit mir die Arbeit teilst.
vierundzwanzig Stunden nicht mehr als PIZARRO
zwei Unzen schwarzes Brot und eine LEONORE Ich kenne diese Schrift?! Laß seh’n. ‐
halbe Maß Wasser. Du wirst mir alle Ruhe rauben, “Ich gebe ihnen Nachricht, daß der
wenn du bis morgen nur verweilst. Minister auf geheimem Weg in
Erfahrung gebracht hat, daß die
Staatsgefängnisse, denen Sie
vorstehen, mehrere Opfer
55

willkürlicher Gewalt enthalten. Er reist PIZARRO ROCCO

morgen ab, um Sie mit einer Ich muß ihn dazu gebrauchen. ‐ Komm ...der kaum mehr lebt,
Untersuchung zu überraschen.“ ‐ näher! und wie ein Schatten schwebt?
Gott, wenn er entdeckte, daß ich
diesen Florestan 18. NO.9 DUET PIZARRO
in Ketten liegen habe, ihn, der mich PIZARRO Zu dem, zu dem hinab!
vor dem Minister enthüllen Jetzt, Alter, jetzt hat es Eile! Ich wart’ in kleiner ferne, du gräbst in
und mir seine Gunst entreißen wollte! dir wird ein Glück zu Teile, der Zisterne sehr schnell ein Grab.
Gepriesener (throws a purse to him)
Minister, ich werde mich doch deiner du wirst ein reicher Mann; ROCCO
Wachsamkeit zu entziehen das geb’ ich nur daran. Und dann? Und dann?
wissen. ‐ Heute soll er ankommen. Da
habe ich keinen Augenblick zu ROCCO PIZARRO
verlieren. ‐ Hauptmann, hören Sie! So sagt doch nur in Eile, Dann werd’ ich selbst vermummt mich
Besteigen Sie mit einem womit ich dienen kann. in den Kerker schleichen: ein Stoß ...
Trompeter sogleich den Turm. und er verstummt!
Sehen Sie mit größter PIZARRO
Aufmerksamkeit auf die Strasse nach Du bist von kaltem Blute, ROCCO
Sevilla. Sobal Sie einen von unverzagtem Mute Verhungernd in den Ketten,
Wagen, von Reitern begleitet, durch langen, langen Dienst geworden. ertrug er lange Pein,
kommen sehen, lassen Sie ihn töten, heißt ihn retten,
augenblicklich ein Signal geben. Ich ROCCO der Dolch wird ihn befrei’n.
erwarte größte Pünktlichkeit. Was soll ich? Redet, redet!
Sie haften mir mit Ihrem Kopf dafür. ‐ PIZARRO
Was aber jetzt tun, um PIZARRO Er sterb’ in seinen Ketten,
mir diesen Florestan unverzüglich vom Morden! zu kurz war seine Pein,
Halse zu schaffen? ‐ ihn töten, heißt ihn retten,
Es gibt nur ein Mittel! ROCCO dann werd’ ich ruhig sein.
Wie? Jetzt, ALter, jetzt hat es Eile!
16. NO.8 ARIA WITH CHORUS Hast du mich verstanden?
PIZARRO PIZARRO Du gibst ein Zeichen;
Ha! Welch ein Augenblick! Höre mich nur an! dann werd’ ich selbst vermummt
Die Rache werd’ ich kühlen! Du bebst? bist du ein Mann? mich in den Kerker schleichen:
dich, dich rufet dein Geschick! Wir dürfen gar nicht säumen, ein Stoß ... und er verstummt!
In seinem Herzen wühlen, o Wonne, dem Staate liegt den bösen Untertan
großes Glück! schnell aus dem Weg zu räumen. ROCCO
Schon war ich, schon war ich nah’, Verhungernd in den Ketten,
im Staube, ROCCO ertrug er lange Pein,
dem lauten Spott zum Raube, O Herr! ihn töten, heißt ihn retten,
dahin, dahin, ja, der Dolch wird ihn befrei’n.
dahin gestreckt zu sein! PIZARRO
Nun ist es mir geworden, Dem Staate liegt den bösen Untertan PIZARRO
den Mörder selbst zu morden! schnell aus dem Weg zu räumen. Er sterb’ in seinen Ketten,
Ha! Welch ein Augenblick! (etc.) zu kurz war seine Pein,
In seiner letzten Stunde, ROCCO ihn töten, heißt ihn retten,
den Stahl in seiner Wunde, O Herr! dann werd’ ich ruhig sein.
ihm noch ins Ohr zu schrei’n. (Pizarro leaves, followed by Rocco)
Triumph! Triumph! Triumph! PIZARRO
Der Sieg, der Sieg ist mein! Du stehst doch an? SECOND SCENE
Er darf nicht länger leben, (Leonore and Marzelline enter from
THE GUARDS sonst ist’s um mich gescheh’n. opposite sides)
Er spricht von Tod und Wunde, Pizarro sollte beben? 19. MARZELLINE
nun fort auf unsre Runde, Du fällst, du fällst, ich werde steh’n. Nun ist es endlich entschieden. ‐ Nichts
wie wichtig, wie wichtig kann unser Glück mehr hindern; in
muß es sein, nun fort, nun fort, ROCCO wenigen Tagen werd’ ich das Weib
wie wichtig muß es sein! Die Glieder fühl’ ich beben, meines lieben Fidelio sein!
wie könnt’ ich das besteh’n?
PIZARRO Ich nehm’ ihm nicht das Leben, LEONORE
Ha! Welch ein Augenblick! mag was da will, gescheh’n. O, daß ich sie täuschen muß! ‐ Welch
Die Rache werd’ ich kühlen! schreckliche Lage!
dich, dich rufet dein Geschick! ROCCO
Der Sieg, der Sieg ist mein! Triumph Nein, Herr, das Leben nehmen, 20. NO 10 DUET
das ist nicht meine Pflicht. MARZELLINE
17. PIZARRO Um in der Ehe froh zu leben,
Rocco! PIZARRO muß man vor allem treu sich sein,
Ich will mich selbst bequemen, muß nie sich Grund zur Argwohn
ROCCO wenn Dir’s an Mut gebricht. geben...
Herr! Nun eile rasch und munter
zu jenem Mann hinunter, LEONORE
du weißt, du weißt... Ja, Argwohn ist der Ehe Pein.

56

MARZELLINE 21. MARZELLINE und süßen Trost dir bringen!

Darüber stimmen wir nun ein, Sie doch, wie du so schnell von der Ich folg’ dem innern Triebe,
darüber stimmen wir nun ein. Freude zur Traurigkeit übergehen ich wanke nicht,
kannst, als ob du einen geheimen micht stärkt die Pflicht
LEONORE Kummer hättest, den du gern der treuen Gattenliebe.
Darüber stimm’ ich mit dir ein. verbergen möchtest.

MARZELLINE LEONORE
Nur was du willst, soll stets geschehen, Ich? ‐ Ganz und gar nicht.
ich gebe deinem Willen nach,
und wie ein Steinchen in dem Bach MARZELLINE CD63
sollst du, was ich mir denke sehen. Ach mach’s so wie ich, ich singe und 1. NO.12 FINALE
lache PRISONER
LEONORE den ganzen Tag über und besonders, O, welche Lust!
Dein Herz ist ja so spiegelrein, seit in freier Luft den Atem
man kann mit dir nur glücklich sein. ich weiß, daß du mein Mann wirst. leicht zu heben, O, welche Lust!
(to herself) Nur hier, nur hier ist Leben,
Wie schmerzlich, täuschen sie zu LEONORE der Kerker eine Gruft, eine Gruft!
müssen, O wenn ich noch Angehörige hätte wie
der Himmel wird es mir verzeihen. du! ‐ Wenn FIRST PRISONER
ich meinen Vater kennte wie du! Wir wollen mit Vertrauen
MARZELLINE auf Gottes Hilfe,
Das Leben wird uns sanft verfließen, MARZELLINE auf Gottes Hilfe bauen,
voll Blumen uns’re Wege sein. Jetzt ist die Stunde, wo ich die die Hoffnung flüstert sanft mir zu,
Um in der Ehe froh zu leben, Gefangenen der frischen wir werden frei, wir finden Ruh,
muß man vor allem treu sich sein, Luft geniessen lassen muß Herz gefaßt, wir finden Ruh’.
muß nie sich Grund zur Argwohn lieber Freund,
geben... Herz gefaßt! ‐ Wenn du auch keine PRISONER
Angehörigen hast, O Himmel Rettung,
LEONORE so hast du doch Marzellinen, die dich welch ein Glück,
Ja, Argwohn ist der Ehe Pein. so innig liebt, daß sie o Freiheit, o Freiheit,
dir für alle anderen gelten kann. kehrst du zurück?
MARZELLINE Verstehst du mich? ‐
Darüber stimmen wir nun ein. für alle ‐ ja, ja ‐ für alle. SECOND PRISONER
(leaves with the laundry) Sprecht leise, haltet euch zurück,
BEIDE wir sind belauscht mir
Darüber stimmen wir nun ein. THIRD SCENE Ohr und Blick.
LEONORE (alone)
MARZELLINE Wie rührend ist ihre Hingebung! ‐ Wie PRISONER
Mein Vater wird mit dir und mir liebenswürdig ihre Sprecht leise, haltet euch zurück,
sein Alter innig froh verleben; Offenheit! Der Augenblick ist nah, wo wir sind belauscht mit Ohr und Blick.
und, und sind wir einmal unser vier, es mir gelingen wird, in die O, welche Lust!
o, das wird Himmelswonne geben. geheimen Kerker der Festung zu in freier Luft den Atem
dringen. Ja, mein Mann lebt, er lebt leicht zu heben, O, welche Lust!
LEONORE in diesen Kerkern! ‐ Alles sagt es mir! ‐ Nur hier, nur hier ist Leben,
O mag dir diese Freude werden. Gott hat mir mehr Kräfte, der Kerker eine Gruft, eine Gruft!
als ich zu hoffen wagte, gegeben! Mut Sprecht leise, haltet euch zurück,
MARZELLINE gefaßt! ‐ Was mir auch wir sind belauscht mit Ohr und Blick.
Mein Vater sagt, es gibt auf Erden bevorstehen mag, ich muß mein Werk
nichts süßres, keine größ’re Lust vollenden! 2. ROCCO
als ich zuerst ihn Vater nannte, Entfernt euch jetzt! Nun, könnt ihr
da mußt’ er weinen und es brannte 22. NO. 11 RECITATIVE AND ARIA eilen?
wie Glut die Freud in seiner Brust. LEONORE Ihr könnt ja morgen länger hier
Ach, brich noch nicht, du mattes Herz! verweilen.
LEONORE Du hast in Schreckenstagen
Auch du wirst einst so glücklich sein mit jedem Schlag ja neuen Schmerz LEONORE
und dich des Mutternamens freuen. und bange Angst ertragen. Nun sprecht, wie ging’s?
(to herself) Ach, brich noch nicht, du mattes Herz!
Wie schmerzlich, täuschen sie zu Komm’, Hoffnung, laß’ den letzten ROCCO
müssen, Stern Recht gut, recht gut !
der Himmel wird es mir verzeihen. der Müden nicht erbleichen! Zusammen rafft’ ich meinen Mut,
Komm’, o komm’, erhell’ ihr Ziel, und trug ihm alles vor,
MARZELLINE sei’s noch so fern, und sollt’st du’s glauben,
Das Leben wird uns sanft verfließen, die Liebe, die Liebe wird’s erreichen. was er zur Antwort mir gab?
voll Blumen uns’re Wege sein. Komm’, o komm’, erhell ihr Ziel, Die Heirat, und daß du mir hilfst,
(Leonore sinking deep in thought) komm’, Hoffnung, laß’ den letzten will er erlauben,
Stern noch heute führ ich in den Kerker dich
etc. hinab.
O du, für den ich alles trug,
könnt ich zur Stelle dringen,
wo Bosheit dich in Fesseln schlug,
57

LEONORE ROCCO LEONORE

Noch heute? noch heute? In der verfallenen Zisterne Wie mir’s im Innern tobet,
O welch ein Glück, o welche Wonne! bereiten wir die Grube leicht; empöret ist mein Blut!
ich tu’ es, glaube mir, nicht gerne,
ROCCO auch dir ist schaurig, wie mich deucht. ROCCO
Ich sehe deine Freude; Erst hat er mich gelobet
nur noch ein Augenblick, LEONORE und jetzt ist er in Wut.
dann gehen wir schon beide, ja, Ich bin es nur noch nicht gewohnt. (Pizarro, officers and guards enter)
dann gehen wir schon beide.
ROCCO PIZARRO
LEONORE Ich hätte gerne dich verschont, Noch immer zaudert ihr?
Wohin, wohin? doch wird mir allein zu schwer, Noch immer seid ihr hier? Noch
und gar so streng ist unser Herr. immer?
ROCCO ROCCO, MARZELLINE, LEONORE
Zu jenem Mann hinab, LEONORE Ihr müßt, weil ihr ...
dem ich seit vielen Wochen O welch ein Schmerz! Ach verzeiht, ach verzeiht!
stets weniger zu essen gab.
ROCCO PIZARRO
LEONORE (to himself) Nicht mehr ein Wort,
Ha, wird er losgesprochen? Mir scheint, er weine. fort, eilig fort.
sonst findet ihr den Lohn.
ROCCO LEONORE
O nein! O welch ein Schmerz! ROCCO, MARZELLINE, LEONORE
Ja, wir gehorchen schon.
LEONORE ROCCO
So sprich, so sprich! Nein, nein, du bleibst hier, (They sneak away shyly)
ich geh’ alleine, ich geh’ allein,
ROCCO du bleibst hier, nein, 4. PIZARRO
O nein, o nein! du bleibst hier! (to the guards)
O nein, o nein! Auf euch nur will ich bauen,
Wir müssen ihn, doch wie, LEONORE seid string auf eurer Hut,
befrei’n, er muß in einer Stunde ‐ O nein, o nein, ich muß ihn seh’n, rechtfertigt mein Vertrauen,
den Finger auf dem Munde den Armen sehen. sonst fürchtet meine Wut!
von uns begraben sein. Und müßt ich selbst zugrunde gehen! Jetzt eilet auf die Zinnen,
besetzet rings den Turm!
LEONORE BEIDE Bald wird sein Blut verrinnen,
So ist er tot? O säumen wir nun länger nicht, bald krümmet sich der Wurm.
wir folgen uns’rer strengen Pflicht.
ROCCO CHORUS OF GUARDS
Noch nicht, noch nicht! MARZELLINE Fest könnt ihr auf uns bauen,
(rushes in) und flöss auch unser Blut,
LEONORE Ach, Vater, eilt! uns ziemet das Vertrauen,
Ist, ihn zu töten, deine Pflicht? wir sind voll Treu und Mut.
ROCCO
ROCCO Was hast du denn? PIZARRO
Nein, guter Junge, zitt’re nicht! Bald wird sein Blut verrinnen,
Zum Morden, zum Morden dingt sich JAQUINO bald krümmet sich der Wurm.
Rocco nicht, Ach ihr verweilt! Auf euch nur will ich bauen,
nein, nein! rechtfertigt mein Vertrauen.
Der Gouverneur, ROCCO Seid string auf eurer Hut,
der Gouverneur kommt selbst hinab, Was ist gescheh’n? sonst fürchtet meine Wut!
wir beide graben nur das Grab.
MARZELLINE CHORUS OF GUARDS
LEONORE Mir folgt im Zorn Pizarro nach, Fest könnt ihr auf uns bauen,
Ich soll das Grab des Gatten graben, du bist verlor’n! uns ziemet das Vertrauen,
was kann fürchterlicher sein? wir sind voll Treu und Mut,
ROCCO und flöss auch unser Blut.
ROCCO Gemach, gemach!
Ich darf ihn nicht mit Speise laben, PIZARRO
ihm wird im Grabe besser sein. LEONORE Jetzt eilet auf die Zinnen,
So eilet fort! besetzet rings den Turm!
3.Wir müssen gleich zum Werke Bald wird sein Blut verrinnen,
schreiten, ROCCO bald krümmet sich der Wurm.
du mußt helfen, mich begleiten; Ich gehe schon, nur noch ein Wort;
hart, hart ist des Kerkermeisters Brot. CHORUS OF GUARDS
MARZELLINE Wir eilen auf die Zinnen,
LEONORE Er kommt ja schon, besetzen rings den Turm,
Ich folge dir bis in den Tod! du weiß ja, wie er tobet, wir sind voll Treu und Mut,
du kennest seine Wut. und flöss auch unser Blut.

58

ACT III LEONORE LEONORE

A DARK SUBTERRANEAN CELLAR Es ist unmöglich, seine Züge zu Wer du auch seist, ich will dich retten,
unterscheiden. bei Gott! Du sollst kein Opfer sein!
FIRST SCENE Gott steh mir bei, wenn er es ist! Gewiß, ich löse deine Ketten
5. NO. 13 RECITATIVE AND ARIA ich will, du Armer, dich befrei’n!
FLORESTAN ROCCO Du Armer, dich befrei’n
Gott! Welch Dunkel hier! Hier unter diesen Trümmern ist die
O grauenvolle Stille! Zisterne, ROCCO
Öd ist es um mich her, von der ich gesagt habe. ‐ Wir Was er da mit sich selber spricht?
nichts, ach nichts lebet außer mir. brauchen nicht viel zu graben, um an
O schwere Prüfung! die Öffnung zu kommen. LEONORE
Doch gerecht ist Gottes Wille! Hole mir eine Haue, und du stelle dich Mein Vater, nein, ich rede nicht!
Ich murre nicht! hierher!
Das Maß der Leiden steht bei dir! Mir scheint, du zitterst? Fürchtest du ROCCO
In des Lebens Frühlingstagen dich? Nur hurtig fort, nur frisch gegraben,
ist das Glück von mir gefloh’n. es währt nicht lang, er kommt herein.
Wahrheit wagt ich kühn zu sagen, LEONORE
und die Ketten sind mein Lohn. O nein! ‐ Ees ist nur so kalt. LEONORE
Willig duld’ ich alle Schmerzen, Laßt mich nur wieder Kräfte haben,
ende schmählich meine Bahn; ROCCO wir werden bald zu Ende sein.
süßer, Trost in meinem Herzen: So mache fort! Im Arbeiten wird dir (Rocco drinks)
meine Pflicht hab ich getan. schon warm werden.
Ach! Es waren schöne Tage, 7. LEONORE
als mein Blick an deinem hing, ROCCO Er erwacht!
als ich dich mit frohem Schlage Nur hurtig fort, nur frisch gegraben,
meines Herzens fest umfing. es währt nicht lang, er kommt herein, ROCCO
Ach, es waren schöne Tage! es währt nicht lang, er kommt herein. (suddenly stops drinking)
Mild’re, Liebe, deine Klage, Er erwacht, sagst du?
wandle ruhig deine Bahn, LEONORE
sage deinem Herzen, sage: Ihr sollt ja nicht zu klagen haben, LEONORE
Florestan hat recht getan. ihr sollt gewiß zufrieden sein. Ja, er hat eben den Kopf gehoben.
Mild’re, Liebe, deine Klage ...
ROCCO ROCCO
6. NO. 14 MELODRAMA AND DUET Komm, hilf, komm hilf doch diesen Ich muß allein mit ihm reden.
LEONORE Stein mit heben, (He steps out of the hole)
Wie kalt ist es in diesem unterirdischen hab Acht, hab Acht! Er hat Gewicht! Steig’ anstatt meiner hinab und mache
Gewölbe! bald so viel Raum, daß man die
LEONORE Zisterne öffnen kann.
ROCCO Ich helfe schon, sorgt euch nicht,
Das ist natürlich, es ist ja so tief! ich will mir alle Mühe geben. LEONORE
Was in mir vorgeht, ist
LEONORE ROCCO unaussprechlich!
Ich glaubte schon, wir würden Ein wenig noch! Ich muß lauschen.
den Eingang gar nicht mehr finden.
LEONORE ROCCO
ROCCO Geduld! Nun, habt ihr wieder einige
Da ist er. Augenblicke Ruhe genossen?
ROCCO
LEONORE Er weicht! FLORESTAN
Wo? Ruhe, sagt ihr?
LEONORE
ROCCO Nur etwas noch! LEONORE
Dort ‐ auf dem Steine ‐ Diese Stimme! ‐ wenn ich nur einen
ROCCO Augenblick
LEONORE Es ist nicht leicht! sein Gesicht sehen könnte.
Er scheint ganz ohne Bewegung.
ROCCO FLORESTAN
ROCCO Nur hurtig fort, nur frisch gegraben, Werdet ihr immer taub und gefühllos
Vielleicht ist er tot. es währt nicht lang, er kommt herein, sein?
es währt nicht lang, er kommt herein. Werdet ihr euch nie des unglücklichen
LEONORE Florestan erbarmen?
Ihr meint es? LEONORE (during the last words he turns to
Laßt mich nur wieder Kräfte haben, Leonore)
ROCCO wir werden bald zu Ende sein.
Nein, nein, er schläft. ‐ Das müssen wir LEONORE
benützen, ROCCO Gott, er ist’s!
und gleich ans Werk gehen, wir haben Nur hurtig fort, nur frisch gegraben, (She faints on the edge of the hole)
keine Zeit zu verlieren. es währt nicht lang, er kommt herein.

59

ROCCO LEONORE FLORESTAN

Was verlangt Ihr denn von mir? Wer sollt’ es nicht sein? ‐ Ihr selbst, O Dank dir, Dank! O Dank!
Ich vollziehe die Befehle, die man mir Meister Rocco ‐ Euch werde Lohn in bessern Welten,
gibt; der Himmel, der Himmel hat euch mir
das ist mein Amt, meine Pflicht. ROCCO geschickt.
Du hast recht. Dieser Mensch hat so
FLORESTAN eine Stimme ‐ LEONORE
Wer ist Gouverneur dieses Wie zieht er mich so mächtig an,
Gefängnisses? 8. NO. 15 TERZET o wenn ich ihn befreien kann.
FLORESTAN Du armer, du armer Mann!
ROCCO Euch werde Lohn in bessern Welten,
Der Gouverneur dieses Gefängnissen der Himmel, der Himmel hat euch mir ROCCO
ist Don Pizarro. geschickt, Ich labt ihn gern, den armen Mann,
o Dank, ihr habt mich süß erquickt, es ist ja bald um ihn getan.
FLORESTAN ich kann die Wohltat nicht vergelten. Der arme Mann, der arme Mann,
Pizarro, sagt ihr? ‐ O nun erstaun’ ich es ist ja bald um ihn getan.
nicht mehr, ROCCO
daß ich diese Martern zu leiden Ich labt ihn gern, den armen Mann, FLORESTAN
verdammt bin. ‐ Er es ist ja bald um ihn getan. Er scheint gerührt, der gute Mann,
ist’s dessen Verbrechen, dessen o wenn ich ihn gewinnen kann!
Mißbrauch der LEONORE Ich kann die Wohltat nicht vergelten.
Gewalt ich zu entdecken wagte. Ich Wie zieht er mich so mächtig an, der Himmel, der Himmel hat euch mir
bitt’ euch nur, sobald o wenn ich ihn befreien kann. geschickt.
als möglich nach Sevilla zu schicken; O daß ich euch nicht lohnen kann!
dort fragt FLORESTAN O Dank! Ich kann die Wohltat nicht
nach Leonore Florestan ‐ Er scheint gerührt, der gute Mann, vergelten.

o wenn ich ihn gewinnen kann!
LEONORE
LEONORE
Gott, er ahnt nicht, daß sie jetzt sein
LEONORE O mehr als ich ertragen kann!
Grube gräbt!

Wie zieht er mich so mächtig an, Du armer Mann! Du armer Mann!
FLORESTAN o wenn ich ihn befreien kann.
Gebt ihr Nachricht, daß ich noch lebe, ROCCO
sagt ihr, daß ROCCO Es ist ja bald um ihn getan.
ich hier in Ketten liege, daß der Barbar Ich labt ihn gern, den armen Mann, Der arme Mann! Der arme Mann!
Pizarro hier zu es ist ja bald um ihn getan. (Florestan eats the piece of bread)
gebieten hat. Sie wird meine Freiheit
bewirken, mein Leben LEONORE 9. ROCCO (after a silence to Leonore)
erhalten, und du, Alter, wirdt die (softly to Rocco) Alles ist bereit; ich gehe, das Signal zu
Tugend geschützt und die Dies Stückchen Brot, ja, seit zwei geben.
Unschuld gerettet haben. Tagen (He moves to the background)
trag ich es immer schon bei mir.
ROCCO LEONORE
Es ist unmöglich, sag’ ich euch. ‐ Ich ROCCO O Gott, gib mir Mut und Stärke!
würde mich ins Ich möchte gern, doch sag ich dir,
Verderben stürzen, ohne euch genützt das hieße wirklich zu viel wagen.
zu haben. THIRD SCENE
LEONORE PIZARRO
LEONORE Ihr labtet gern den armen Mann. Ist alles bereit?
O Gott, wer kann das ertragen?
ROCCO ROCCO
FLORESTAN Das geht nicht an, das geht nicht an! Ja, wir haben nunmehr die Zisterne zu
Aus Barmherzigkeit, gib mir nur einen öffnen.
Tropfen Wasser. LEONORE
Es ist ja bald um ihn getan. PIZARRO
ROCCO Gut ‐ der Jüngling soll sich entfernen.
Es geht mir wider meinen Willen so zu ROCCO
Herzen! Das geht nicht an, das geht nicht an! ROCCO
Alles was ich euch anbieten kann, ist Geh, geh!
dasa Restchen Wein, LEONORE
das ich noch im Krug habe. Fidelio! Es ist ja bald um ihn getan. LEONORE
Wer?... Ich...? Und ihr?
LEONORE ROCCO
Da ist er! Da ist er! So sei es, so sei’s, du kannst es wagen. PIZARRO
Die muß ich mir heute noch beide vom
FLORESTAN LEONORE Halse schaffen,
Wer ist dieser Jüngling? Da nimm, da nimm das Brot, damit alles auf immer im Dunkeln

du armer, du armer Mann! bleibt.
ROCCO

Mein Schließer, und in wenigen Tagen
ROCCO
mein Eidam.
Soll ich ihm die Ketten abnehmen?
(To Leonore) Du bist ja so bewegt!

60

PIZARRO LEONORE PIZARRO

Nein, ich muß erst ‐ Die Zeit ist Ich bin sein Weib, Verzweiflung wird im Bunde
dringend. geschworen hab ich ihm Trost, mit meiner Rache sein!
(He draws a dagger) Verderben dir! Verflucht sei diese Stunde,
PIZARRO die Heuchler spotten mein.
10. NO.16 QUARTET Sein Weib?
PIZARRO LEONORE
Er sterbe! ROCCO Die Liebe wird im Bunde
Doch er soll erst wissen, Sein Weib? mit Mute mich befrein.
wer ihm sein stolzes Herz zerfleischt FLORESTAN FLORESTAN
Der Rache Dunkel sei zerrissen Mein Weib? Die Liebe wird im Bunde
sieh her, du hast mich mit Mute dich befrei’n.
nicht getäuscht! LEONORE Es schlägt der Rache Stunde,
Pizarro, den du stürzen wolltest, Ich bin sein Weib, ich soll gerettet sein!
Pizarro, den du fürchten solltest, geschworen hab ich ihm Trost,
steht nun als Rächer hier! Verderben dir! ROCCO
Ich will nicht mehr im Bunde
FLORESTAN FLORESTAN mit diesem Wüt’rich sein.
Ein Mörder steht vor mir! Vor Freude starrt mein Blut! O fürchterliche Stunde!
O, Gott, was wartet mein?
PIZARRO ROCCO (Pizarro falls down, Rocco follows after
Noch einmal ruf ’ ich dir, Mir starrt vor Angst mein Blut! him, after he has taken the weapon
was du getan zurück, from Leonore.)
nur noch ein Augenblick, PIZARRO
und dieser Dolch ... Welch’ unerhörter Mut! 11. FOURTH SCENE
welch unerhörter Mut! LEONORE (totally exhausted)
LEONORE Ha, soll ich vor einem Weibe beben? Die Waffe hab’ ich mir nehmen lassen ‐
Zurück! Zurück! So opfr’ich, so opfr’ich ‘o Gott, Gott ‐
beide meinem Grimm; In einem Augenblick die Frucht so
FLORESTAN geteilt hast du mit ihm das Leben, vieler Bemühung
O Gott! so teile nun den Tod mit ihm! verloren! ‐ Keine Hoffnung hab’ ich
mehr! ‐ Nein! Nein!
ROCCO LEONORE (helpless she collapses on the edge of
Was soll? Ich trotze seiner Wut! the cistern)
Verderben ihm!
LEONORE Der Tod, der Tod sei dir geschworen, 12. NO.17 DUET
Durchbohren, durchbohren durchbohren mußt FLORESTAN
mußst du erst diese Brust, du erst diese Brust! Ich kann mich noch nicht fassen,
der Tod sei dir geschworen (draws a gun) zu denken wag’ ich’s kaum,
für deine Mörderlust! Noch einen Laut, und du bist tot! sie hat mich nicht verlassen,
(Off‐stage trumpets) o nein, es war kein Traum.
PIZARRO Sie war’s, sie ist’s, dort sank sie hin!
Wahnsinniger! LEONORE O Gott! Sie scheint sich kaum zu regen!
Ach, du bist gerettet, großer Gott! Weh mir, daß ich gefesselt bin!
LEONORE Mein Herz erliegt so vielen Schlägen!
Der Tod sei dir geschworen FLORESTAN O Leonore, Leonore!
für deine Mörderlust! Ach, ich bin gerettet, großer Gott!
LEONORE
ROCCO PIZARRO (still unconscious)
Halt ein, halt doch ein! Ha! ha, der Minister, Höll’ und Tod! Gebt, ach gebt ihn mir!

PIZARRO ROCCO FLORESTAN
Wahnsinniger! Er soll bestrafet sein! O, was ist das? Gerechter Gott! Ha, sie ist’s!
O Gott! O Gott! Sie ruft nach mir!
LEONORE LEONORE Geliebtes Weib!
Töt erst sein Weib! So schlägt der Rache Stunde,
du sollst gerettet sein! LEONORE
PIZARRO O helft, o helft ihn retten!
Sein Weib? FLORESTAN
So schlägt der Rache Stunde, FLORESTAN
ROCCO ich soll gerettet sein! Sieh’ Florestan, sieh’ seine Ketten,
Sein Weib? sieh’, Leonore, den Gemahl!
PIZARRO
FLORESTAN Verflucht sei diese Stunde, LEONORE
Mein Weib? die Heuchler spotten mein. (recovering)
Was hör ich?
LEONORE ROCCO Welch süßer Schall?
Ja, sieh hier Leonore! O fürchterliche Stunde!
O, Gott, was wartet mein?
FLORESTAN
Leonore!
61

FLORESTAN 13. FLORESTAN ROCCO

Sie ist’s! O himmlisches Entzücken! O Leonore, sprich! Durch welches (He has pushed himself near to
Komm, laß an dieses Herz dich Wunder ist es Leonore. Don Fernando follows him
drücken, dir gelungen, zu mir zu dringen? closely)
o Leonore, komm zu mir! Hier sind sie!
LEONORE (fast) Seht! O habt Erbarmen!
LEONORE Ich verließ Sevilla ‐ ich kam zu Fuß ‐ O rettet dieses edle Paar!
Er ist’s! Er ist’s! in Manneskleidern ‐ der Kerkermeister
(She rushes to him and presses herself nahm mich FLORESTAN
to his chest) in Dienste, dein Verfolger selbst Wer reißt sie mir aus meinen Armen?
Ich bin bei dir. machte LEONORE
mich zum Schließer! Herbei! Ich trotze der Gefahr!
BEIDE
O, namen‐, namenlose Freude! FLORESTAN FLORESTAN
So viele Beschwerden hast du ertragen Was seh’ ich! Don Fernando!
LEONORE können?
Mein Mann an meiner Brust! DON FERNANDO
LEONORE Ja, doch um die Tugend nur zu rächen,
FLORESTAN Die Liebe hat mich beseelt! Meine um eure Ketten zu zerbrechen,
Mein Weib an meiner Brust! Kräfte waren unerschöpflich! als euer Retter bin ich da.

BEIDE FLORESTAN LEONORE, FLORESTAN
Nach unnennbarer Leiden, Meine Leonore, was hast du alles O Gott!
so übergroße Lust. für mich getan!
DON FERNANDO
LEONORE LEONORE (lifting Leonore)
Du wieder nun in meinen Armen! Nichts, mein Florestan. Stegt auf, steht auf! Es ziemte mir,
mir selbst, zu euren Füßen hier
FLORESTAN 14. NO.18 FINALE der Frauen edelste zu ehren.
O Gott, wie groß ist dein Erbarmen, CHORUS
(from inside, at a distance) ROCCO
LEONORE Zur Rache, zur Rache, zur Rache, Laß euch auch über mich belehren:
Du wieder nun in meinen Armen! wir müssen ihn seh’n, verfolgt hab ich euch nur zum Schein;
ja, wir müssen ihn seh’n! ich kann nicht unbarmherzig sein,
FLORESTAN als Retter wollt ich wiederkehren.
O Gott, wie groß ist dein Erbarmen, LEONORE (showing the gun)
O Dank dir, Gott, für diese Lust! O Gott, o Gott, nun ist’s um uns Das hab’ ich mit Gewalt geborgt,
gescheh’n! für Mißbrauch war ich nur besorgt.
BEIDE O Hülfe, großer Gott, Hülfe, Hülfe! Jetzt soll mein Herz nichts mehr
O Dank dir, Gott, für diese Lust! beschweren.
Mein Mann, mein Mann an meiner FLORESTAN (He throws a purse to Pizarro)
Brust! Laß uns mit Mut dem Tod, Das gabst du mir in diesem Kauf!
Ich bin’s! der Ruh’ entgegengeh’n. Der Fluch des Himmels liegt darauf!
Mein Weib, mein Weib
O, namen‐, namenlose Freude! LEONORE CHORUS
Ja, geh’n wir ihm entgegen, Bestrafet sei der Bösewicht
FLORESTAN er endet unsern Harm; der Unschuld unterdrückt!
Du bist’s! Du bist’S! dein Wille, Gott, ist Segen, Hält nicht das strafende Gericht
O himmlisches Entzücken! ich sterb’ in seinem Arm. der Rache Schwerte gezückt)

Komm, laß an dieses Herz dich
FLORESTAN
drücken! FERNANDO
Ja, geh’n wir ihm entgegen,
(to Rocco)
er endet unsern Harm;
LEONORE Du des edlen Mannes Grab,
dein Wille, Gott, ist Segen,
Ich bin’s! Ich bin’s! O himmlisches jetzt, jetzt nimm ihm seine Ketten ab.
ich sterb’ in ihrem Arm.
Entzücken!
(to Leonore)
Komm, laß an dieses Herz dich CHORUS Doch halt! Euch, edle Frau, allein,
drücken! (closer) euch ziemt es, ganz ihn zu befrei’n.
Zur Rache, zur Rache!
FLORESTAN Die Unschuld werde befreit, 15. LEONORE, FLORESTAN,
Leonore! Gott schützet die gerechte Sache MARZELLINE, ROCCO, DON
und straft die Grausamkeit. FERNANDO, CHORUS
LEONORE O Gott, o Gott, welch ein Augenblick
Florestan! LEONORE, FLORESTAN O unaussprechlich süßes Glück!
O, namen‐, namenlose Freude! Gott schützet die gerechte Sache Gerecht, o Gott, gerecht ist dein
Nach unnennbarer Leiden, und straft die Grausamkeit. Gericht!
so übergroße Lust. Du prüfest, du verläßt uns nicht!
Mein Mann an meiner Brust! CHORUS
Mein Weib an meiner Brust! (appearing) 16. DON FERNANDO
O Dank dir, Gott, für diese Lust! Zur Rache, zur Rache, zur Rache! (to Florestan)
Gott schützet die gerechte Sache Wie lang habt ihr sie getragen?
und straft die Grausamkeit.
62

FLORESTAN FLORESTAN, MARZELLINE, JAQUINO, CD64

Ich weiß es nicht, denn mit den Tagen ROCCO, FERNANDO, CHORUS FIDELIO
vermengen sich die Nächte hier. Wer ein holdes Weib errungen, Opera in two acts
stimm in unsern Jubel ein, Music by Ludwig van Beethoven (1770‐
DON FERNANDO nie, wird es zu hoch besungen, 1827)
(to Rocco) Retterin des Gatten zu sein. Libretto by Joseph Sonnleithner and
Ihr, Alter, wißt es, sagt es mir. Friedrich Treitschke after Jean Nicolas
Bouilly’s play drama “Leonore”
ROCCO First performance: May 1814, Theater
Zwei Jahre sind’s, ich irre nicht. am Kärntner Tor in Wien.
DON FERNANDO
(to Pizarro) CAST
So höre denn, du Bösewicht, Don Fernando, the King’s Minister
du kontest dich an seinen Leiden baritone
zwei schreckensvolle Jahre weiden? Pizarro, Governor of a state prison
Du wirst nun an denselben Stein baritone
dein Leben durch geschmiedet sein! Florestan, prisoner tenor
Leonore, his wife, in male attire as
CHORUS Fidelio soprano
O, zu gelind’ ist er bestraft. Rocco, Chief jailer bass
Marzelline, his daughter soprano
LEONORE Jaquino, Rocco’s assistant tenor
O nein! O nein! Erbarmt euch sein! First prisoner tenor
Denn ihm gab sein Bewußtsein Kraft. Second prisoner bass

FLORESTAN
O nein! O nein! Erbarmt euch sein! ACT I
Denn mir gab mein Bewußtsein Kraft.
1. OVERTURE
CHORUS
Nein, nein, nein! 2. NO.1 DUET
Er ist noch zu gelind’ bestraft. JAQUINO
Jetzt, Schätzchen,
DON FERNANDO jetzt sind wir allein,
Der König wird sein Richter sein; Wir können vertraulich
kommt, Freunde, laßt zu ihm uns eilen, nun plaudern.
er wird mit mir die Wonne teilen,
verfolgte Unschuld zu befrei’n. MARZELLINE
Es wird ja nichts Wichtiges sein,
17. CHORUS ich darf bei der Arbeit
Preist! Preist! nicht zaudern.
Preist mit hoher Freude Glut
Leonorens edlen Mut! JAQUINO
Ein Wörtchen, du Trotzige, du!
18. MARZELLINE, JAQUINO, ROCCO,
DON FERNANDO MARZELLINE
Wer ein holdes Weib errungen, So sprich nur, ich höre ja zu.
stimm in unsern Jubel ein,
nie, wird es zu hoch besungen, JAQUINO
Retterin des Gatten zu sein. Wenn du mir nicht
freundlicher´ blickest,
CHORUS so bring´ ich kein Wörtchen hervor.
Wer ein holdes Weib errungen,
stimm in unsern Jubel ein, MARZELLINE
nie, wird es zu hoch besungen, Wenn du dich nicht
Retterin des Gatten zu sein. in mich schickest,
verstopf ich mir vollends das Ohr.
FLORESTAN
Deine Treu’ erhielt mein Leben, JAQUINO
Tugend schreckt den Bösewicht. Ein Weilchen nur höre mir zu,
dann lass´ ich dich
LEONORE wieder in Ruh´.
Liebe führte mein Bestreben,
wahre Liebe fürchtet nicht. MARZELLINE
So hab´ ich denn nimmer mehr Ruh´;
CHORUS so rede, so rede nur zu!
Preist mit hoher Freude Glut,
Leonorens edlen Mut. JAQUINO
Ich... ich habe...
Ich habe zum Weib dich gewählet,
verstehst du?
63

MARZELLINE JAQUINO RECITATIVE

Das ist ja doch klar! Wie? MARZELLINE
Dich anzusehn’n willst du mir wehren? Der arme Jaquino dauert
JAQUINO Auch das noch? mich beinahe,
Und... und, wenn mir dein kann ich aber ändern?
Jawort nicht fehlet, MARZELLINE Ich war ihm sonst recht gut,
was meinst du? So bleibe hier stehh’n! da kam Fidelio in unser Haus,
und seit der Zeit ist alles
MARZELLINE JAQUINO in mir und um mich verändert.
So sind wir ein Paar. Du hast mir Ach!
so oft doch versprochen. Aus dem Mitleiden,
JAQUINO Das ich mit Jaquino habe,
Wir könnten in wenigen Wochen. MARZELLINE merke ich erst,
Versprochen? wie sehr gut ich Fidelio bin.
MARZELLINE Nein, das geht zu weit! Ich glaube auch, daß
Recht schön, du bestimmst Fidelio mir recht gut ist,
schon die Zeit. JAQUINO und wenn ich die Gesinnungendes
Zum Henker das ewige Poche, Vaters wüßte,
JAQUINO zum Henker! so könnte bald mein Glück
Zum Henker, das ewige Pochen, vollkommen werden.
da war ich so herrlich im Gang, MARZELLINE
und immer, So bin ich doch, endlich befreit! 3. NO. 2 ARIA
immer entwischt mir der Fang ! Das ist ein willkommener Klang, O wär’ ich schon mit dir vereint,
es wurde zu Tode mir bang. und dürfte Mann dich nennen !
MARZELLINE Ein Mädchen darf ja,
So bin ich doch endlich befreit! JAQUINO was es meint,
Wie macht seine Liebe mir bang, Es ward ihr im Ernste schon bang; zur Hälfte nur bekennen !
es werden die Stunden mir lang. wer weiß, ob es mir nicht gelang. Doch wenn ich nicht erröten
Ich weiß, daß der Arme sich quälet, Wenn ich diese Tür heute muß ob einem warmen Herzenskuß,
es tut mir so leid auch um ihn! nicht schon zweihundertmal wenn nichts uns stört auf Erden.
Fidelio hab’ ich gewählet, aufgemacht habe, so will ich Die Hoffnung schon erfüllt die Brust
ihn lieben ist süßer Gewinn. nicht Jaquino heißen. mit unaussprechlich süßer Lust;
Zum Wetter, schon wieder! wie glücklich will ich werden!
JAQUINO In Ruhe stiller Häuslichkeit
Wo war ich? MARZELLINE erwach’ ich jeden Morgen,
Sie sieht mich nicht an! Was kann ich dafür, wir grüßen uns mit Zärtlichkeit,
daß ich ihn nicht mehr so gern Der Fleiß verscheucht die Sorgen.
MARZELLINE wie sonst haben kann? Und ist die Arbeit abgetan,
Da ist er, dann schleicht die holde Nacht heran,
er fängt wieder an! JAQUINO dann ruh’n wir von Beschwerden.
So. Nun hoffe ich,
JAQUINO soll niemand uns stören. ROCCO
Wann wirst du das Jawort mir geben? Guten Tag, Marzelline!
Es könnte ja heute ja heute noch sein. ROCCO Ist Fidelio noch
Jaquino, Jaquino! nicht zurück gekommen?
MARZELLINE
O weh ! MARZELLINE MARZELLINE
Er verbittert mein Leben ! Hörst du, der Vater ruft! Nein, Vater!
Jetzt, morgen und immer,
und immer, nein! JAQUINO ROCCO
Ich muß ja so hart mit ihm sein! Lassen wir ihn ein wenig warten. Die Stunde naht,
Also, Wo ich dem Gouverneur
JAQUINO auf unsere Liebe zu kommen... die Briefschaften bringen muß,
Du bist doch wahrhaftig von Stein, abholen sollte,
kein Wünschen, kein Bitten, MARZELLINE ihn mit Ungeduld.
geht ein. So geh doch,
der Vater wird sich nach Fidelio LEONORE
MARZELLINE erkundigen wollen. Jaquino! Jaquino!
Ich muß ja so hart mit ihm sein,
er hofft bei dem mindesten Schein. JAQUINO JAQUINO
Ei freilich da kann man Ich komme schon, ich komme schon!
JAQUINO nicht schnell genug sein.
So wirst du dich nimmer, MARZELLINE
nimmer bekehren? ROCCO Er wird gewiß so lange bei
Was meinst du? Jaquino, hörst du nicht? dem Schmied haben warten müssen.
Da ist er, da ist er!
MARZELLINE JAQUINO Wie er belastet ist!
Du könntest nun geh’n! Ich komme schon! Lieber Gott, der Schweiß
Bleib fein hier, in zwei Minuten läuf ihm von der Stirn.
sind wir wieder beisammen.

64

ROCCO ROCCO ROCCO

Warte, warte! Still! Nun, meine Kinder,
Meinst du, ich kann dir ihr habt euch doch recht
JAQUINO nicht ins Herz sehen? herzlich lieb, nicht wahr?
Es war auch der Mühe wert, Aber das ist noch nicht alles,
so schnell aufzumachen, 4. NO.3 QUARTET was zu einer guten,
um den Patron da herein zulassen. MARZELLINE vergnügten Haushaltung gehört,
Mir ist so wunderbar, man braucht auch
ROCCO es engt das Herz mir ein;
Armer Fidelio, er liebt mich, es ist klar,
diesmal hast du zu viel dir aufgeladen! ich werde glücklich, glücklich sein. 5. NO.4 ARIA
Hat man nicht auch Gold beineben,
LEONORE LEONORE kann man nicht ganz glücklich sein;
Ich muß gestehen, Wie groß ist die Gefahr! traurig schleppt, sich fort das Leben,
ich bin ein wenig ermüdet! wie schwach der Hoffnung Schein! mancher Kummer stellt sich ein.
Der Schmied hatte auch an sie liebt mich, es ist klar, Doch wenn’s in den Taschen
den Ketten so lange auszubessern, o namenloser Pein! klingelt und rollt,
daß ich glaubte, da hält man das Schicksal gefangen,
er würde nichtdamit fertig werden. ROCCO und Macht und Liebe verschafft
Sie liebt ihn, es ist klar, das Gold und stillet das kühnste
ROCCO ja, Mädchen, er wird dein, Verlangen.
Sind sie jetzt gut gemacht? ein gutes, junges Paar, Das Glück dient wie ein Knecht für
sie werden glücklich sein. Sold,
LEONORE es ist ein schönes, schönes Ding,
Gewiß, recht gut und stark. JAQUINO das Gold, ein goldnes,
Keiner der Gefangenen wird sie Mir sträubt sich schon das Haar, goldnes Ding, das Gold, das Gold.
zerbrechen. der Vater willigt ein, Wenn sich Nichts mit Nichts verbindet,
mir wird so wunderbar, ist und bleibt die Summe klein,
ROCCO mir fällt kein Mittel ein. wer bei Tisch nur Liebe findet,
Wieviel kostet alles zusammen? wird nach Tische hungrig sein.
RECITATIVE Drum lächle der Zufall euch
LEONORE ROCCO gnädig und hold und segne
Zwölf Piaster ungefähr. Höre, Fidelio, und lenk’ euer Streben,
Hier ist die genaue Rechnung wenn ich auch nicht weiß, das Liebchen im Arme,
wie und wo auf die Welt im Beutel das Gold,
ROCCO gekommen bist, so mögt ihr viel Jahre durchleben.
Gut, brav! Zum Wetter, und wenn du auch gar
da gibt es Artikel, keinen Vater gehabt hättest, RECITATIVE
auf die wir wenigstens das Doppelte, so weiß ich doch, LEONORE
gewinnen können! was ich tue, ich, ich mache dich Ihr könnt das leicht sagen,
Du bist ein kluger Junge! zu meinem Tochtermann Meister Rocco, aber ich,
Ich kann gar nicht begreifen, ich behaupte,
wie du deine Rechnungen machst. MARZELLINE daß die Vereinigung zweier
Du kaufst alles wohlfeiler als ich. Wirst du es bald tun, lieber Vater? gleichgestimmten Herzen
In den sechs Monaten, die Quelle des wahren
seit ich dir die Anschaffung ROCCO ehelichen Glückes ist.
von Lebensmitteln übertragen habe, Ei, ei, wie eilfertig ! O dieses Glück muß der
hast du mehr gewonnen, So bald der Gouverneur nach größte Schatz auf Erden sein !
als ich vorher in einem ganzen Jahre. Sevilla gereist sein wird, Freilich gibt es noch etwas,
Der Schelm gibt sich dann haben wir mehr Muße. was mir nicht weniger
alle diese Mühe, Ihr wißt ja, kostbar sein würde,
offenbar meiner Marzelline wegen. daß er alle Monate hingeht, aber mit Kummer sehe ich,
um über alles, was hier in dem daß ich es trotz aller meiner
LEONORE Staatsgefängnis vorgeht, Bemühungen nicht erhalten werde.
Ich suche zu tun, Rechenschaft zu geben.
was mir möglich ist. In wenigen Tagen muß er wieder fort, ROCCO
und den Tag nach seiner Abreise Und was wäre denn das?
ROCCO geb’ ich euch zusammen.
Ja, ja, du bist brav; Darauf könnt ihr rechnen. LEONORE
man kann nicht eifriger, Euer Vertrauen. Verzeiht mir
nicht verständiger sein! MARZELLINE diesen kleinen Vorwurf,
Ich habe dich auch mit Den Tag nach seiner Abreise! aber oft sehe ich euch aus den
jedem Tage lieber, Das machst du recht vernünftig, unterirdischen Gewölben
und, sei versichert, lieber Vater! des Schlosses ganz außer
dein Lohn soll nicht ausbleiben. Atem und ermattet zurückkommen,
LEONORE warum erlaubt Ihr mir nicht,
LEONORE Den Tag nach seiner Abreise? euch dahin zu begleiten?
O glaubt nicht, daß ich O’ welche neue Verlegenheit ! Es wäre mir sehr lieb,
meine Schuldigkeit nur wenn ich euch bei eurer
des Lohnes wegen... Arbeit helfen und eure
Beschwerden teilen könnte.

65

ROCCO ROCCO für hohen Lohn kann Liebe

Du weißt doch, daß ich O wie oft hat er mit mir schon auch hohe Leiden,
den strengsten Befehl habe, von alledem reden wollen. hohe Leiden tragen.
niemanden, wer es auch sein mag,
zu den Staatsgefangenen zu lassen. LEONORE MARZELLINE
Nun? Dein gutes Herz wird manchen
MARZELLINE Schmerz in diesen Grüften leiden,
Es sind ihrer aber gar so viele in dieser ROCCO dann kehrt zurück der Liebe Glück
Festung. Für unsereinen ist’s am besten, und unnennbare Freuden.
Du arbeitest dich ja zu Tod, lieber so wenig Geheimnisse
Vater. als möglich zu wissen, ROCCO
darum hab ich ihn auch nie angehört. Du wirst dein Glück
LEONORE Ich hätte mich verplappern können, ganz sicher bauen,
Sie hat recht, Meister Rocco. und ihm hätt ich doch ja, ja, ja,
Man soll allerdings seine nicht genützt. ihr werdet glücklich sein.
Schuldigkeit tun. Nun, er wird mich nicht
Aber es ist doch auch erlaubt, lange mehr quälen. LEONORE
meine ich, Es kann nicht mehr Ich hab’ auf Gott und Recht
zuweilen daran zu denken, lange mit ihm dauern. Vertrauen,
wie man sich für die, ja, ja, ja,
die uns angehören und lieben, LEONORE ich kann noch glücklich sein.
ein bißchen schonen kann. Großer Gott!
MARZELLINE
MARZELLINE MARZELLINE Du darfst mir auch ins Auge
Man muß sich für seine Lieber Himmel, wie hat schauen der Liebe Macht
Kinder zu erhalten suchen. er denn eine so schwere ist auch nicht klein,
Strafe verdient? ja, ja, ja, wir werden glücklich sein.
ROCCO
Ja, ihr habt recht, diese ROCCO ROCCO
schwere Arbeit würde mir Seit einem Monat schon Der Gouverneur,
doch endlich zu viel werden. muß ich auf Pizarros Befehl der Gouverneur soll heut’ erlauben,
Der Gouverneur ist zwar sehr streng, seine Portion kleiner machen. daß du mit mir die Arbeit teilst.
er muß mir aber doch erlauben, Jetzt hat er binnen
dich in die Gouverneur, vierundzwanzig Stunden LEONORE
geheimen Kerker mit mir zu nehmen. nicht mehr als zwei Unzen Du wirst mir alle Ruhe rauben,
Unterdessen gibt es ein Gewölbe, schwarzes Brot und eine wenn du bis morgen nur verweilst.
in das ich dich wohl Halbe Maß Wasser;
nie werde führen dürfen, kein Licht mehr als den Schein MARZELLINE
obschon ichmich ganz einer Lampe, kein Stroh mehr, Ja, guter Vater,
auf dich verlassen kann. nichts! bitt ihn heute,
in kurzem sind wir dann ein Paar.
MARZELLINE MARZELLINE
Vermutlich, wo der Gefangene sitzt, O lieber Vater, ROCCO
Von dem du schon einige führe Fidelio ja nicht zu ihm, Ich bin ja bald des Grabes Beute,
gesprochen hast, Vater ? diesen Anblick könnt ich brauche Hilf,
er nicht ertragen. es ist ja wahr.
ROCCO
Du hast’s erraten. LEONORE LEONORE
Warum denn? Wie lang’ bin ich des
LEONORE Ich habe Mut und Stärke. Kummers Beute.
Ich glaube, es ist schon lange her, Du, Hoffnung,
daß er gefangen ist? ROCCO reichst mir Labung dar.
Brav, mein Sohn, brav!
ROCCO Wenn ich dir erzählen wollte, MARZELLINE
Es ist schon über zwei Jahre. wie ich anfangs in meinem Ach! lieber Vater,
Stande mit mir zu kämpfen hätte! was fällt Euch ein?
LEONORE Und ich war doch ein ganz anderer Lang’ Freund und Rater
Zwei Jahre, sagt Ihr? Kerl als du mit deiner feinen Haut müßt Ihr uns sein.

Er muß ein großer und deinen weichen Händen.
ROCCO
Verbrecher sein.
Nur auf der Hut, dann geht
6. NO.5 TERZET
es gut, gestillt,
ROCCO Gut, Söhnchen, gut,
gestillt wird euer Sehnen;
Oder er muß große Feinde haben; hab immer Mut,
gebt euch die Hand
das kommt ungefähr auf eins heraus. dann wird dir’s auch gelingen,
und schliesst das Band,
das Herz wird hart durch Gegenwart
in süßen Freudentränen.
MARZELLINE bei fürchterlichen Dingen.
Ein schönes Band,
So hat man denn nie
mit Herz und Hand.
erfahren können, woher er ist, LEONORE

und wie er heißt? Ich habe Mut!
MARZELLINE
Mit kaltem Blut, mit kaltem Blut
O habe Mut, o welche Glut,
will ich hinab mich wagen;
o welch’ ein tiefes Sehnen!
66

Ein festes Band mit In seinem Herzen wühlen, o Wonne, PIZARRO

Herz und Hand, großes Glück! Du bist von kaltem Blute,
o süße, süße Tränen. Schon war ich, schon war ich nah’, von unverzagtem Mute durch langen,
im Staube, langen Dienst geworden.
LEONORE dem lauten Spott zum Raube,
Ihr seid so gut ihr macht mir Mut, dahin, dahin, ja, ROCCO
gestillt wird bald mein Sehnen. dahin gestreckt zu sein! Was soll ich?
Ich gab die Hand zum süßen Band, Nun ist es mir geworden, Redet, redet! Wie!
es kostet bittre Tränen. den Mörder selbst zu morden!
Ha! Ha! Ha! PIZARRO
ROCCO In seiner letzten Stunde, Morden!
Aber nun ist Zeit, daß den Stahl in seiner Wunde,
ich dem Gouverneur die ihm noch ins Ohr zu schrei’n. ROCCO
Briefschaften überbringe. Triumph! Triumph! Triumph! Wie?
Ah ! Er kommt selbst hierher! der Sieg, der Sieg ist mein!
Gieb sie, Fidelio, PIZARRO
und dann entfernt euch! SOLDIERS Höre mich nur an!
Er spricht von Tod und Wunde, Du bebst? bist du ein Mann?
PIZARRO nun fort auf unsre Runde, Wir dürfen gar nicht säumen,
Drei Schildwachen auf den¡ wie wichtig, wie wichtig dem Staate liegt den bösen Unterthan
Wall, sechs Mann Tag und muß es sein, nun fort, nun fort, schnell aus dem Weg zu räumen. Du
Nacht auf der Zugbrücke, wie wichtig muß es sein! stehst noch an?
ebenso viele gegen den Garten zu,
und jedermann, der sich dem Graben PIZARRO ROCCO
der Festung nähert, Ich darf keinen Augenblick säumen, O Herr!
werde sogleich zu mir gebracht. alle Anstalten zu meinem O Herr!
Ist etwas Neues vorgefallen? Vorhaben zu treffen.
Heute soll der Minister ankommen. PIZARRO
ROCCO Nur die größte Vorsicht Er darf nicht länger leben,
Nein, Herr! und Eile können mich retten. sonst ist’s um mich gescheh’n.

7. NO.6 MARCH RECITATIVE ROCCO
RECITATIVE Hauptmann, hören Sie! Die Glieder fühl’ ich beben,
PIZARRO Besteigen Sie mit einem wie könnt’ ich das besteh’n?
Wo sind die Depeschen? Trompeter sogleich den Turm.
Sehen Sie unablässig und PIZARRO
ROCCO mit der größten Achtsamkeit Pizarro sollte beben?
Hier sind sie. auf die Straße von Sevilla. Du fällst,
Sobald Sie einen Wagen, du fällst ich werde steh’n.
PIZARRO von Reitern begleitet,
Immer Empfehlungen oder Vorwürfe. diesem Schloß sich nähern sehen, ROCCO
Wenn ich auf alles das achten wollte, lassen Sie augenblicklich durch Ich nehm’ ihm nicht das Leben,
würde ich nie damit zu Ende kommen. den Trompeter ein Signal geben. mag was da will gescheh’n.
Mich dünkt, ich kenne diese Schrift. Verstehen Sie, Nein, Herr, das Leben
Laß sehen. augenblicklich ein Signal! nehmen das ist nicht meine Pflicht.
“Ich gebe ihnen Nachricht, Ich erwarte die größte
daß der Minister in Erfahrung gebracht Pünktlichkeit, PIZARRO
hat, daß die Staatsgefängnisse, denen Sie haften mir mit Ihrem Kopf dafür. Ich will mich selbst bequemen,
Sie vorstehen, mehrere Opfer Fort, auf eure Posten! wenn Dir’s an Mut gebricht.
willkürlicher Gewalt enthalten. Rocco! Rocco! Nun eile rasch und munter
Er reist morgen ab, zu jenem Mann hinunter,
um Sie mit einer Untersuchung zu ROCCO du weißt, du weißt...
überraschen. Herr!
Seien Sie auf Ihrer Hut, und suchen Sie ROCCO
sich sicherzustellen.” PIZARRO ...der kaum mehr lebt,
Gott, wenn er entdeckte, Ich muß ihn zu gewinnen suchen. und wie ein Schatten schwebt?
daß ich diesen Florestan Ohne seine Hilfe kann
in Ketten liegen habe, ich es nicht ausführen. PIZARRO
den er längst tot glaubt; ihn, Komm näher! Zu dem, zu dem hinab!
der so oft meine Rache reizte, Ich wart’ in kleiner ferne, du gräbst in
der mich vor dem Minister enthüllen der Zisterne
und mir seine Gunst entziehen wollte! 9. NO.8 DUET sehr schnell ein Grab.
Doch, es gibt ein Mittel! Jetzt, Alter, jetzt hat es Eile!
Eine kühne Tat kann alle Besorgnisse dir wird ein Glück zu Teile, ROCCO
zerstreuen! du wirst ein reicher Mann; Und dann? Und dann?
das geb’ ich nur daran.
8. NO.7 ARIA WITH CHORUS
Ha! Ha! Ha! ROCCO PIZARRO
Welch ein Augenblick! So sagt doch nur in Eile, Dann werd’ ich selbst vermummt mich
Die Rache werd’ ich kühlen! womit ich dienen kann. in den Kerker schleichen: ein Stoß ...
dich, dich rufet dein Geschick! und er verstummt!
67

ROCCO Der Gouverneut kommt um diese Zeit was er zur Antwort mir gab?

Verhungernd in den Ketten, nicht hierher. Die Heirat, und daß du mir hilfst,
ertrug er lange Pein, will er erlauben,
ihn töten, heißt ihn retten, MARZELLINE noch heute fuhr ich in den Kerker dich
der Dolch wird ihn befrei’n. Vater, es ist die Stunde, hinab.
in der die Gefangenen
PIZARRO an die frische Luft kommen dürfen. LEONORE
Er sterb’ in seinen Ketten, Noch heute? noch heute?
zu kurz war seine Pein, ROCCO O welch ein Glück!
ihn töten, heißt ihn retten, Ohne Erlaubnis des Gouverneurs? o welche Wonne!
dann werd’ ich ruhig sein.
Jetzt, Alter, jetzt hat es Eile! MARZELLINE ROCCO
Hast du mich verstanden? Aber er sprach so lange mit dir. Ich sehe deine Freude;
Du gibst ein Zeichen; Vielleicht sollst du ihm einen Gefallen nur noch ein Augenblick,
dann werd’ ich selbst vermummt mich tun, dann gehen wir schon Beide, ja,
in den Kerker schleichen: und dann wird er es so genau nicht dann gehen wir schon beide.
ein Stoß ... und er verstummt! nehmen.
LEONORE
ROCCO ROCCO Wohin, wohin?
Verhungernd in den Ketten, Einen Gefallen?
ertrug er lange Pein, Du hast recht, Marzelline. ROCCO
ihn töten, heißt ihn retten, Auf diese Gefahr hin kann ich es Zu jenem Mann hinab,
der Dolch wird ihn befrei’n. wagen. dem ich seit vielen Wochen
Wohl denn, Jaquino und Fidelio, stets weniger zu essen gab.
PIZARRO öffnet die leichteren Gefängnisse.
Er sterb’ in seinen Ketten, Ich aber gehe zu Pizarro LEONORE
zu kurz war seine Pein, und halte ihn zurück, indem ich für Ha, wird er losgesprochen?
ihn töten, heißt ihn retten, dein Bestes rede.
dann werd’ ich ruhig sein. ROCCO
(Pizarro leaves, Rocco follows him) MARZELLINE O nein!
So recht, Vater!
10. NO.9 RECITATIVE AND ARIA 12. NO.10 FINALE LEONORE
LEONORE PRISONERS So sprich, so sprich!
Abscheulicher, wo eilst du hin? O, welche Lust!
Was hast du vor, in wildem Grimme? in freier Luft den Atem ROCCO
Des Mitleids Ruf, der Meschheit leicht zu heben, O, welche Lust! O nein, o nein!
Stimme‐ nur hier, nur hier ist Leben, O nein, o nein!
rührt nichts mehr deinen Tigersinn? der Kerker eine Gruft, eine Gruft! Wir müssen ihn, doch wie,
Doch toben auch wie Meereswogen befrein, er muß in einer Stunde,
dir in der Seele Zorn und Wut, FIRST PRISONER den Finger auf dem
so leuchtet mir ein Farbenbogen, Wir wollen mit Vertrauen Munde von uns sein.
der hell auf dunkeln Wolken ruht: auf Gottes Hülfe,
Der blickt so still, so friedlich nieder, auf Gottes Hülfe bauen, LEONORE
der spiegelt alte Zeiten wieder, die Hoffnung flüstert sanft mir zu, So ist er tot?
und neu besänftigt wallt mein Blut. wir werden frei, wir finden Ruh,
wir finden Ruh’. ROCCO
11. Komm’, Hoffnung, laß’ den letzten Noch nicht, noch nicht!
Stern der Müden nicht erbleichen! PRISONERS
O komm’, erhell mein Ziel, sei’s noch O Himmel Rettung, LEONORE
so fern, die Liebe, sie wird’s erreichen. welch ein Glück, Ist, ihn zu töten, deine Pflicht,
Ich folg’ dem innern Triebe, o Freiheit, o Freiheit, ihn zu töten, deine Pflicht?
ich wanke nicht, kehrst du zurück?
micht stärkt die Pflicht ROCCO
der treuen Gattenliebe! SECOND PRISONER Nein, guter Junge,
O du, für den ich alles trug, Sprecht leise, haltet euch zurück, zittre nicht, zum Morden,
könnt ich zur Stelle dringen, wir sind belauscht mir zum Morden dingt sich Rocco
wo Bosheit dich in Fesseln schlug, Ohr und Blick. nicht, nein, nein, nein,
und süßen Trost dir bringen! nein, nein, nein!
Ich folg’ dem innern Triebe, PRISONERS Der Gouverneur,
ich wanke nicht, Sprecht leise, haltet euch zurück, der Gouverneur kommt selbst hinab,
micht stärkt die Pflicht wir sind belauscht mir wir beide graben nur das Grab.
der treuen Gattenliebe. Ohr und Blick.
(Rocco enters from the garden, LEONORE
Marzelline from the house) 13. LEONORE Vielleicht das Grab des Gatten graben,
Nun sprecht, wie ging’s? was kann fürchterlicher sein?
LEONORE Was?
Rocco, ihr verspracht mir so oft, ROCCO
die armen Gefangenen, die über der Recht gut, recht gut ! ROCCO
Erde wohnen, Zusammen rafft’ ich meinen Mut, Ich darf ihn nicht mit Speise laben,
in unseren Festungsgarten zu lassen. und trug ihm alles vor, ihm wird im Grabe besser sein.
Heute ist das Wetter so schön! und sollst du’s glauben, Wir müssen gleich zum
68

Werke schreiten, du mußt helfen, MARZELLINE Angst rinnt durch meine Glieder,

mich begleiten; hart, Der Offizier sagt ihm, ereilt den Frevler,
hart ist des Kerkermeisters Brot. was wir jetzt den den Frevler kein Gericht.
Gefangenen gewähren.
LEONORE JAQUINO
Ich folge dir, wär’s in den Tod! ROCCO Ihr hört das Wort,
Laßt alle schnell zurück kehren! drum zögert nicht,
ROCCO kehrt in den Kerker wieder!
In der zerfallenen Zisterne bereiten MARZELLINE Sie sinnen auf und nieder,
wir die Grube leicht; Ihr wißt ja, wie er tobet, könnt ich verstehn,
ich tu es, glaube mir, nicht gerne, und kennet seine Wut. was jeder spricht!
auch dir ist schaurig,
wie mich deucht? LEONORE PIZARRO
Wie mir’s im Innern tobet! Nun Rocco, zögre Rocco,
LEONORE Empöret ist mein Blut! länger nicht,
Ich bin es nur noch nicht gewohnt. steig’ in der Kerker nieder!
ROCCO Nicht eher kehrst du wieder
ROCCO Mein Herz hat mich gelobet, bis ich vollzogen das Gericht.
Ich hätte gerne dich verschont, sei der Tyrann in Wut!
doch wird mir allein zu schwer, ROCCO
und gar so streng ist unser Herr. PIZARRO Nein, Herr,
Verweg’ner Alter! ich zögre länger nicht,
LEONORE welche Rechte legst du dir ich steige eilend nieder,
O welch ein Schmerz! frevelnd selber bei? nein, Herr!
und ziemt es dem gedung’nen Mir beben meine Glieder,
ROCCO Knechte, o unglückselig harte Pflicht!
Mir scheint, er weine. zu geben die Gefang’nen frei?
Nein, nein, du bleibst hier,
ich geh’ alleine, ich geh’ allein, ROCCO
du bleibst hier, nein, O Herr! O Herr!
du bleibst hier! PIZARRO
Wohlan! Wohlan! CD65
LEONORE ACT II
O nein, o nein, ich muß ihn seh’n, ROCCO FIRST SCENE
den Armen sehen, und müßt ich selbst Des Frühlings Kommen,
zugrunde gehen! das heitre, warme Sonnenlicht, 1. NO.11 INTRODUCTION AND ARIA
dann habt ihr wohl in Acht genommen, FLORESTAN
TOGETHER was sonst zu meinem Vorteil spricht? Gott, welch Dunkel hier!
O säumen wir nun länger nicht, Des Königs Namensfest ist heute, O grauenvolle Stille!
wir folgen unsrer strengen Pflicht. das feiern wir auf solche Art. öd ist es um mich her,
Der unten stirbt, nichts, nichts lebet außer mir,
14. MARZELLINE doch laßt die andern jetzt o schwere Prüfung!
Ach, Vater, Vater, eilt! fröhlich hin und wieder wandern, Doch gerecht ist Gottes Wille!
für Jenen sei der Zorn gespart. Ich murre nicht, das Maß
ROCCO der Leiden steht bei dir!
Was hast du denn? PIZARRO
So eile, 2. In des Lebens Frühlingstagen
JAQUINO ihm sein Grab zu graben, ist das Glück von mir geflohn.
Nicht länger weilt! hier will ich stille Ruhe haben; Wahrheit wagt ich kühn zu sagen,
schliess die Gefangene wieder ein, und die Ketten sind mein Lohn.
ROCCO magst du nie mehr Willig duld’ ich alle Schmerzen,
Was ist gescheh’n? verwegen sein! ende schmählich meine Bahn;
süßer, Trost in meinem Herzen,
MARZELLINE 15. PRISONERS meine Pflicht hab ich getan.
Voll Zorn folgt mir Pizarro nach, Leb wohl, du warmes Sonnenlicht, Und spür’ ich nicht linde,
er drohet, er drohet dir! schnell schwindest du uns wieder! sanft säuselnde Luft,
Schon sinkt die Nacht hernieder, und ist nicht mein Grab
JAQUINO aus der so bald kein Morgen bricht. mir erhellet?
Nich länger weilt! Ich seh, wie ein Engel
MARZELLINE im rosigen Duft sich
ROCCO Wie eilten sie zum Sonnenlicht, tröstend zur Seite,
Gemach! gemach! und scheiden traurig wieder! zur Seite mir stellet,
LEONORE Die Andern, ein Engel, Leonoren,
So eilet fort! die Andern murmeln, Leonoren, Leonoren,
nieder, hier wohnt die Lust, der Gattin so gleich, der,
ROCCO die Freude nicht. der führt mich zur Freiheit
Nur noch dies Wort; ins himmlische Reich.
sprich, weiß er schon? LEONORE
Ihr hört das Wort,
JAQUINO drum zögert nicht,
Ja, er weiß es schon. kehrt in den Kerker wieder!
69

3. NO.12 MELODRAMA AND DUET ROCCO FLORESTAN

LEONORE Ein wenig noch! Werdet ihr immer bei
Wie kalt ist es in diesem unterirdischen meinen Fragen taub sein,
Gewölbe! LEONORE grausamer Mann?
Geduld!
ROCCO LEONORE
Das ist natürlich, es ist ja so tief! ROCCO Gott, er ist’s!
Er weicht!
LEONORE ROCCO
Ich glaubte schon, wir würden den LEONORE Was verlangt Ihr denn von mir?
Eingang gar nicht finden. Nur etwas noch! Ich vollziehe die Befehle,
die man mir gibt;
ROCCO ROCCO das ist mein Amt, meine Pflicht.
Da ist er. Es ist nicht leicht!
FLORESTAN
LEONORE ROCCO Sagt mir endlich einmal,
Er scheint ganz ohne Bewegung. Nur hurtig fort, wer ist Gouverneur
nur frisch gegraben, es währt nicht dieses Gefängnisses?
ROCCO lang er kommt herein.
Vielleicht ist er tot. ROCCO
LEONORE Jetzt kann ich ihm ja ohne Gefahr
LEONORE Laßt mich nur wieder Kräfte haben, genug tun.
Ihr meint es ? wir werden bald zu Ende sein. Der Gouverneur dieses Gefängnissen
Wer du auch seist, ich will dich retten, ist Don Pizarro
ROCCO bei Gott, bei Gott, du sollst kein Opfer
Nein, nein, er schlaft. sein, gewiß, gewiß, FLORESTAN
Das müssen wir benutzen, ich löse deine Ketten ich Pizarro!
und gleich ans Werk gehen, will du Armer, dich befrein!
wir haben keine Zeit zu verlieren. LEONORE
ROCCO O Barbar !
LEONORE Was zauderst du Deine Grausamkeit gibt mir
Es ist unmöglich, in deiner Pflicht? meine Kräfte wieder.
seine Züge zu unterscheiden.
Gott steh mir bei, wenn er es ist! LEONORE FLORESTAN
Mein Vater, nein, ich zauderst nicht! Wenn Ihr mir dienen wolltet,
ROCCO Ihr sollt ja nicht zu klagen haben, so schickt sobald als möglich
Hier unter diesen Trümmern laßt mich nur wieder Kräfte haben, nach Sevilla,
ist die Zisterne, denn mir wird keine Arbeit schwer. fragt nach Leonore Florestan...
von der ich gesagt habe.
Wir brauchen nicht viel zu graben, LEONORE LEONORE
um an die öffnung zu kommen, Er erwacht! Gott, er ahnt nicht,
gib mir eine Haue, daß sie jetzt sein Grab gräbt.
und du stelle dich hierher! ROCCO
Du zitterst, fürchtest du dich? Er erwacht, sagst du? FLORESTAN
Gebt ihr Nachricht,
LEONORE LEONORE daß ich hier in Ketten liege.
O nein, es ist nur so kalt. Ja, er hat eben den Kopf gehoben.
ROCCO
ROCCO ROCCO Es ist unmöglich, sag ich euch.
So mache fort, im Arbeiten wird dir Ohne Zweifel wird er wieder tausend Ich würde mich ins Verderben stürzen,
schon warm werden. Fragen an mich stellen. ohne euch genützt zu haben.
Ich muß allein mit ihm reden.
4. ROCCO FLORESTAN
Nur hurtig fort, LEONORE Wenn ich denn verdammt bin,
nur frisch gegraben, es währt nicht Was in mir vorgeht, ist mein Leben zu enden,
lang er kommt herein. unaussprechlich! laßt mich nicht langsam
verschmachten.
LEONORE ROCCO
Ihr sollt ja nicht zu klagen haben, Nun, habt ihr wieder etwas geruht? LEONORE
ihr sollt gewiß zufrieden sein. O Gott,
FLORESTAN wer kann das ertragen?
ROCCO Geruht?
Komm, hilf, komm hilf doch diesen Wie fände ich Ruhe? FLORESTAN
Stein mit heben, Aus Barmherzigkeit,
hab acht, hab acht, er hat Gewicht! LEONORE gib mir nur einen Tropfen Wasser,
Diese Stimme! das ist ja so wenig.
LEONORE Wenn ich nur einen Augenblick
Ich helfe schon, sein Gesicht sehen könnte. ROCCO
sorgt euch nicht, Es geht mir wider meinen Willen zu
ich will mir alle Mühe geben. Herzen.

70

LEONORE ROCCO LEONORE

Er scheint sich zu erweichen. Ich möchte gern, doch sag ich dir, Mein ganzes Herz reißt
das hieße wirklich zu viel wagen. mich zu ihm hin!
FLORESTAN Sei ruhig, sag ich dir!
Du gibst mir keine Antwort? LEONORE Vergiß nicht,
Ach! was du auch hören und sehen magst,
ROCCO Ihr labtet gern den armen Mann. vergiß nicht, daß überall eine
Ich kann euch nicht verschaffen, Vorsehung ist...ja,
was Ihr verlangt. ROCCO ja, es gibt eine Vorsehung!
Alles was ich euch anbieten kann, Das geht nicht an.
ist ein Restchen Wein, PIZARRO
das ich im Krug habe. Fidelio! LEONORE Ist alles bereit?
Es ist ja bald um ihn getan.
LEONORE ROCCO
Da ist er! Da ist er! ROCCO Ja, die Zisterne braucht
So sei es, so sei’s, nur geöffnet zu werden.
FLORESTAN du kannst es wagen.
Wer ist das? PIZARRO
LEONORE Gut,
ROCCO Da nimm, da nimm das Brot, der Jüngling soll sich entfernen.
Mein Schließer, du armer, du armer Mann!
und in wenigen Tagen mein Eidam. ROCCO
Es ist freilich nur wenig Wein, FLORESTAN Geh, entferne dich!
aber ich geb ihn euch gern. O Dank dir, Dank.
Du bist ja ganz in Bewegung, du? Euch werde Lohn in bessern Welten, LEONORE
der Himmel, der Himmel Wer?... Ich...? Und ihr?
LEONORE hat euch mir geschickt, o Dank,
Wer sollt es nicht sein? ihr habt mich süß erquickt, ROCCO
ich kann die Wohltat, Muß ich nicht dem
ROCCO ich kann sie nicht vergelten. Gefangenen die Eisen abnehmen?
Es ist wahr, der Mensch hat so eine Geh, geh!
Stimme... LEONORE
Der Himmel schicke Rettung dir, PIZARRO
LEONORE dann wird mir hoher Lohn gewährt. Die muß ich mir heute noch
Jawohl, sie dringt in die Tiefe des beide vom Halse schaffen,
Herzens. ROCCO damit alles auf immer
Mich rührte oft dein Leiden hier, im dunkeln bleibt.
5. NO.13 TERZET doch Hilfe,
FLORESTAN doch Hilfe war mir streng verwehrt. ROCCO
Euch werde Lohn in bessern Welten, Soll ich ihm die Ketten abnehmen?
der Himmel, LEONORE
der Himmel hat euch mir geschickt, Ihr labt ihn gern, den armen Mann! PIZARRO
o Dank, ihr habt mich süß erquickt, Nein, aber schließe ihn
ich kann die Wohltat, FLORESTAN von dem Stein los.
ich kann sie nicht vergelten. O daß ich euch nicht lohnen kann, Die Zeit ist dringend.
o Dank ich kann die Wohltat nicht
ROCCO vergelten, o Dank! 6. NO.14 QUARTET
Ich labt ihn gern, den armen Mann, Er sterbe!
es ist ja bald um ihn getan. LEONORE Doch er soll erst wissen,
Ich tu, was meine Pflicht gebeut, O mehr, als ich ertragen kann, wer ihm sein stolzes Herz zerfleischt
doch haß ich Grausamkeit. du armer Mann. Der Rache Dunkel sei zerriss
sieh her, du hast mich nicht getäuscht!
LEONORE ROCCO Pizarro, den du stürzen wolltest,
Wie heftig pochet dieses Herz, Alles ist bereit; ich gehe, Pizarro, den du fürchten solltest,
es wogt in Freud und das Signal zu geben. steht nun als Rächer, hier!
scharfem Schmerz.
Die hehre, bange Stunde winkt, LEONORE FLORESTAN
die Tod mir oder Rettung bringt. O Gott, Ein Mörder steht vor mir!
gib mir Mut und Stärke! PIZARRO
FLORESTAN FLORESTAN Noch einmal ruf ‘ ich dir,
Bewegt seh ich den Jüngling hier, Wohin geht er? was du getan zurück,
und Rührung zeigt Ist das der Vorbote meines Todes? nur noch ein Augenblick,
auch dieser Mann, o Gott, und dieser Dolch...
o Gott, du sendest Hoffnung mir, LEONORE
daß ich sie noch gewinnen kann. Nein, nein! Beruhige dich, LEONORE
lieber Gefangner. Zurück!
LEONORE
Dies Stücken Brot, ja, FLORESTAN FLORESTAN
seit zwei Tagen trag O meine Leonore! O Gott!
ich es Immer schon bei mir. So soll ich dich nie wieder sehen!

71

ROCCO ROCCO FLORESTAN

Was soll? Mir starrt vor Angst mein Blut! Sprich, wie gelangtest du hierher?

LEONORE LEONORE LEONORE
Durchbohren, durchbohren musst du Ach, du bist gerettet, großer Gott! Ich verließ Sevilla,
erst diese Brust, ich kam hierher zu Fuß,
der Tod sei dir geschworen für deine FLORESTAN in Manneskleidern,
Mörderlust! Ach, ich bin gerettet, großer Gott! der Kerkermeister
nahm mich in Dienste,
PIZARRO PIZARRO dein Verfolger selbst
Wahnsinniger! Ha! ha, der Minister, machte mich zum Schließer.
Wahnsinniger! Höll’ und Tod!
Er soll bestrafet sein! FLORESTAN
ROCCO Treues Weib ! Frau ohnegleichen!
FLORESTAN O, o was ist das, Was hast du meinetwegen erdultet!
Ein Mörder, ein Mörder gerechter Gott!
steht vor mir. LEONORE
JAQUINO Nichts, mein Florestan!
ROCCO Vater Rocco, Meine Seele war mit dir,
Halt ein, halt ein! der Herr Minister kommt an, wie hätte der Körper
Halt ein, halt doch ein! sein Gefolge ist schon sich nicht stark gefühlt,
vor dem Schlosstor. indem er für sein besseres
LEONORE Selbst stritt?
Töt erst sein Weib! ROCCO
Gelobt sei Gott! 7. NO.15 DUET
PIZARRO Wir kommen, ja wir O, namenlose Freude!
Sein Weib? kommen augenblicklich. Mein Mann an meiner Brust!

Und diese Leute mit Fackeln Nach unnennbarer Leiden,
ROCCO
sollen heruntersteigen und so übergroße Lust.
Sein Weib?
den Herrn Gouverneur Du wieder nun in meinen Armen!

hinaufbegleiten. O Dank dir, Gott, für diese Lust!
FLORESTAN
Mein Mann, mein Mann an meiner
Mein Weib?
LEONORE Brust!

Es schlägt der Rache Stunde, Ich bin’s!
LEONORE
du sollst gerettet sein! Du bist’s!
Ja, sieh hier Leonore!

Die Liebe wird im Bunde O himmlisches Entzücken!
FLORESTAN mit Mute mich befrein. Florestan! Florestan!
Leonore! Florestan!
FLORESTAN
LEONORE Es schlägt der Rache Stunde, FLORESTAN
Ich bin sein Weib, ich soll gerettet sein! O, namenlose Freude!
geschworen hab ich ihm Trost, Die Liebe wird im Bunde An Leonorens Brust!
Verderben dir! mit Mute dich befrein. Nach unnennbarer Leiden
so übergroße Lust.
PIZARRO PIZARRO O Gott, wie groß ist dein Erbarmen,
Sein Weib? Verflucht sei diese Stunde, o Gott, wie groß ist dein Erbarmen!
die Heuchler spotten mein. O Dank dir, Gott, für diese Lust!
ROCCO Verzweiflung wird im Bunde Mein Weib, mein Weib
Sein Weib? mit meiner Rache sein! an meiner Brust! Du bist’s!
O himmlisches Entzücken!
FLORESTAN ROCCO Ich bin’s!
Mein Weib? O fürchterliche Stunde! Leonore!
O, Gott, was wartet mein? O Leonore!
LEONORE Ich will nicht mehr im Bunde
Ich trotze seiner Wut! Verderben ihm! mit diesem Wütrich sein. SECOND SCENE
Der Tod, der Tod sei dir geschworen, 8. NO.16 FINALE
durchbohren mußt du erst diese Brust! FLORESTAN PEOPLE
Noch einen Laut, und du bist tot! Meine Leonore, was hast du Heil, Heil, heil sei dem Tag,
für mich getan! Heil sei der Stunde,
FLORESTAN Dürfen wir noch hoffen? die lang ersehnt, doch unvermeint,
Vor Freude starrt mein Blut! Gerechtigkeit mit Huld im Bunde
LEONORE vor unsres Grabes Tor erscheint!
PIZARRO Wir dürfen es!
Welch’ unerhörter Mut! Die Ankunft des Ministers, 9. FERNANDO
welch unerhörter Mut! denn wir kennen, Des besten Königs Wink
Ha, ha, soll ich vor einem Weibe Pizarros Verwirrung, und vor allem und Wille führt mich zu euch,
beben? Vater Roccos tröstende Zeichen ihr Armen her,
So opfr’ich, so opfr’ich beide meinem sind mir ebenso viele Gründe Rocco, daß ich der Frevel Nacht enthülle,
Grimm; zu glauben, unser Leiden sei die all umfangen schwarz und schwer.
geteilt hast du mit ihm das Leben, am Ziel und die Zeit unsres Nicht, nicht länger kniet sklavisch
so teile nun den Tod mit ihm! Glückes wolle beginnen. nieder,
72

Tyrannenstrenge sei mir fern. ROCCO LEONORE

Es sucht der Bruder seine Brüder, Der Unmensch wollt in dieser Stunde Liebend, liebend ist es mir gelungen,
und kann er hellen, vollziehn an Florestan den Mord. dich aus Ketten zu befrein, liebend,
Und kann er helfen hilft er gern. liebend, liebend sei es hoch besungen,
PIZARRO Florestan, wieder mein.
PEOPLE, PRISONERS Vollziehn mit ihm!
Heil, sei dem Tag,
Heil sei der Stunde! ROCCO
Heil! Mit uns im Bunde;
nur Euer Kommen, rief ihn fort,
ROCCO nur euer Kommen rief ihn fort.
Wohlan, so helfet, helft den Armen !
CHORUS
PIZARRO Bestrafet sei der Bösewicht der
Was seh ich? Unschuld unterdrückt,
Fort, fort! Gerechtigkeit hält zum Gericht der
Rache Schwerte gezückt!
FERNANDO
Nun rede! FERNANDO
Du schlossest auf des Edlen Grab,
ROCCO jetzt, jetzt nimm ihm seine Ketten ab;
Bewegt es dich? doch halt, euch, edle Frau, allein,
All Erbarmen, All Erbarmen vereine euch ziemt es, ganz ihn zu befrein.
diesem Paare sich.
Don Florestan. LEONORE
O Gott, o Gott, welch ein Augenblick
FERNANDO
Der Totgeglaubte, FLORESTAN
der Edle, O unaussprechlich süßes Glück!

der für Wahrheit stritt ?
FERNANDO

Gerecht, o Gott, gerecht ist dein
ROCCO
Gericht!
Und Qualen ohne Zahl erlitt!

MARZELLINE
FERNANDO
Du prüfest, du verläßt uns nicht!
Mein Freund, mein Freund,

der Totgeglaubte?
ROCCO
Gefesselt, gefesselt,
Du prüfest, du verläßt uns nicht!
bleich steht er vor mir.

LEONORE, FLORESTAN, FERNANDO,
LEONORE, ROCCO CHORUS
Ja, Florestan, Florestan, ihr seht ihn O Gott, o welch ein Augenblick!
hier. o unaussprechlich süßes Glück!
Gerecht,
ROCCO o Gott, gerecht ist dein Gericht!
Und Leonore, Du prüfest, du verläßt uns nicht!

FERNANDO 10. CHORUS
Leonore? Wer ein holdes Weib errungen,
stimm in unsern Jubel ein,
ROCCO nie, nie, nie wird es zu hoch besungen.
der Frauen Zierde fuhr’ ich vor; hoch besungen.
sie kam hierher... Retterin, Retterin des Gatten sein.
FLORESTAN
PIZARRO Deine Treu erhielt mein Leben,
Zwei Worte sagen. Tugend schreckt den Bösewicht.

FERNANDO LEONORE
Kein Wort! Liebe führte mein Bestreben,
Sie kam... wahre Liebe fürchtet nicht.

ROCCO CHORUS
Dort an mein Tor, ... Preist, preist mit hoher Freude Glut,
und trat als Knecht in meine Dienste, Leonorens edlen Mut.
und tat so brave, treue Dienste,
daß ich zum Eidam sie erkor. FLORESTAN, CHORUS
Wer ein holdes Weib errungen,
MARZELLINE stimm in unsern Jubel ein, CD66
O weh mir, weh mir, nie, nie, nie wird es zu hoch besungen. EGMONT OP.84
was vernimmt mein Ohr! hoch besungen.
Retterin, Retterin des Gatten sein. OVERTURE
73

Text by August von Kotzebue, adapted
NO.1 DIE TROMMEL GERÜHRET by Hugo von Hofmannsthal SOME VOICE
Die Trommel gerühret, Wir harren der Kommenden!
Das Pfeifchen gespielt! 1. OVERTURE
Mein Liebster gewaffnet »Die Geschöpfe des Prometheus« CHORUS OF THE MAIDENS, CHORUS
Dem Haufen befiehlt, OF THE PRIESTS
Die Lanze hoch führet, 2. NO.1 CHORUS Seid bereit!
Die Leute regieret. Tochter des mächtigen Zeus
Wie klopft mir das Herz! Trümmer der herrlichen Welt – SOME VOICES
Wie wallt mir das Blut! erwachet, ein Ruf ertönt! Wir sind bereit! Wir harren der
O hätt’ ich ein Wämslein Geschwunden sind die Jahre der Rache Kommenden!
Und Hosen und Hut! – er ist versöhnt: Wir sind bereit!
Ich folgt’ ihm zum Tor ‘naus Der Zeitengeist, er ist versöhnt!
mit mutigem Schritt, 7. CHORUS AND ARIA
Ging’ durch die Provinzen, 3. NO.2 DUET Wir tragen empfängliche Herzen
ging’ überall mit. THE MAN
Die Feinde schon weichen, Ohne Verschulden 8. CHORUS
Wir schiessen da drein; Knechtschaft dulden, Heil unserm Köning, Heil!
Welch’ Glück sondergleichen, harte Not!
Ein Mannsbild zu sein! Unserer Tage
öde Plage “KÖNIG STEPHAN” OR “UNGARNS
um das bisschen liebe Brot! ERSTER WOHLTÄTER”
ENTR’ACTES I AND II Festspiel (Vorspiel) for the opening of
THE DAUGHTER the theatre in Pest Op.117 (1811)
NO.4 FREUDVOLL UND LEIDVOLL Von den Zweigen
Freudvoll Und leidvoll, winkt der Feigen 9. OVERTURE
Gedankenvoll sein; süße Frucht
Und bangen In schwebender Pein; nicht dem Knechte, 10. NO.1 CHORUS OF THE MEN
Himmelhoch jauchzend Zum Tode der sie pflegte, Ruhend von seinen Taten
betrübt; nur dem Herrn, dem er flucht! hat uns der Fürst berufen,
Glücklich allein Ist die Seele, die liebt. an des Thrones Stufen
BOTH Heil der Völker zu beraten;
NOS. 5‐6 ENTR’ACTES III AND IV Hingegeben wilden Horden, und im dichten Kreise
tiefgebeugt in ihrer Hand! sammelte uns der Held
Johann Wolfgang von Goethe Ach, was ist aus uns geworden, nach der Väter Weise
armes, armes Vaterland! auf diesem freien Feld.

(Follows a monologue by Stephan )
4.CHORUS OF THE DERVISHES

Du hast in deines Ärmels Falten
11. NO.2 CHORUS OF THE MEN
den Mond getragen, ihn gespalten.
Auf dunklem Irrweg in finstern Hainen
Kaaba! Kaaba! Kaaba! Kaaba!
wandelten wir am trüben Quell,
Mahomet! Mahomet!
Da sahen wir plötzlich ein Licht
Du hast den strahlenden Borack
erscheinen,
bestiegen zum siebenten Himmel
es dämmerte, es wurde hell!
aufzufliegen,
Und siehe! Es schwanden die falschen
Großer Prophet! Großer Prophet!
Götter,
Kaaba! Kaaba! Kaaba! Kaaba!

dem Tage wich die alte Nacht;
5. MARCIA ALLA TURCA Heil deinem Vater! Unserm Retter!
Der uns Glauben und Hoffnung
6. MARCH AND CHORUS OP.114 gebracht.
CHORUS OF THE MAIDENS, CHORUS (Follows dialogue: a warrior‐ Stephan)
OF THE PRIESTS
Schmückt die Altäre! 12. NO.3 TRIUMPHAL MARCH
(Follows a dialogue: Stephan – Gyula –
SOME VOICES messenger)
Sie sind geschmückt!
13. NO.4 CHORUS OF THE WOMEN
CHORUS OF THE MAIDENS, CHORUS Wo die Unschuld Blumen streute,
OF THE PRIESTS wo sich Liebe den Tempel erbaut,
Streut Weihrauch! da bringen wir im treuen Geleite
SOME VOICES dem frommen Helden die fromme
Er ist gestreut! Braut.

CHORUS OF THE MAIDENS, CHORUS NO.5 MELODRAMA
OF THE PRIESTS
Pflücket Rosen!
SOME VOICES
CD68 Sie sind gepflückt!
DIE RUINEN VON ATHEN OP.113 CHORUS OF THE MAIDENS, CHORUS
(1811/1924) OF THE PRIESTS
Harret der Kommenden!
74

14. NO.6 CHORUS Von Sohn auf Enkel im Herzen hegen 3. NO, NON TURBARTI

Eine neue strahlende Sonne wir eures Ruhmes Heiligtum. Scene and aria for soprano and string
lieblich aus dem Gewölke bricht; Stets fanden in der Nachwelt Segen, orchestra WoO92a 1801
Süße Freude! Selige Wonne! beglückende Fürsten ihren Ruhm.
Wenn die Myrthe den Lorbeer SCENE
umflicht. Carl Bernard No, non turbarti, o Nice; io non ritorno
a parlarti d’amor. So che ti spiace;
NO.7 MELODRAMA basta così.Vedi, che il ciel minaccia
improvvisa tempesta: alle capanne
15. NO.8. CHORUS CD69 se vuoi ridurre il gregge, io vengo solo
Heil unserm Könige! Heil dem Könige! ARIAS ad offrir l’opra mia. Che! Non paventi?
Osserva, che a momenti
NO.9 SCHLUßCHOR (MELODRAM, 1. AH! PERFIDO OP.65 tutto s’oscura il ciel che il vento in giro
STEPHAN) Ah! perfido, spergiuro, la polve innalza e le cadute foglie.
Heil unsern Enkeln, sie werden Barbaro traditor, tu parti? Al fremer della selva, al volo incerto
schauen, E son questi gl’ultimi tuoi congedi? degl’augelli smariti, a queste rare,
was der prophetische Geist erkannt! Ove s’iutese tirannia più crudel? che ci cadon sul volto, umide stille,
Es wird ihr kindliches Vertrauen Va, scellerato! va, pur fuggi da me, Nice, io preveggo ... Ah non tel dissi, o
der Krone schönster Diamant! L’ira de’ numi non fuggirai. Nice?
Wohltaten spendend, täglich neue, Se v’è giustizia in ciel, se v’è pietà, Ecco il lampo, ecco il tuono. Or che
vergilt der König in ferner Zeit, Congiureranno a gara tutti a punirti! farai?
die unwandelbare Treue, Ombra seguace! presente, ovunque Vienti, senti: ove vai? Non è più tempo
die sein Volk ihm dankbar weiht! vai, Vedrò le mie vendette, di pensare alla greggia. In questo
A. von Kotzebue Io già le godo immaginando, speco riparati frattanto; io sarò teco.
I fulmini ti veggo già balenar d’intorno.
16. GERMANIA Ah no! fermate, vindici Dei! ARIA
Final song from the Singspiel “Die gute Risparmiate quel cor, ferite il mio! Ma tu tremi, o mio tesoro!
Nachricht” (The good news) WoO94 S’ei non è più qual era, son io qual fui, Ma tu palpiti, cor mio!
Germania! Germania! Per lui vivea, voglio morir per lui! Non temer, con te son io,
Wie stehst Du jetzt im Glanze da! Per pietà, non dirmi addio, ne’ d’amor ti parlerò.
Zwar zogen Nebel um dein Haupt, Di te priva che farò? Mentre folgori e baleni
die alte Sonne schien geraubt, Tu lo sai, bell’idol mio! sarò teco, amata Nice;
Doch Gott, der Herr, war helfend nah! Io d’affanno morirò. quand’il ciel si rassereni,
Preis ihm, Heil dir, Germania! Ah crudel! tu vuoi ch’io mora! Nice ingrata, io partirò,
Germania! Germania! Tu non hai pietà di me?
Wie stehst Du jetzt in Jugend da! Perchè rendi a chi t’adora 4. NE’ GIORNI TUOI FELICI
Zum zweiten Leben, frisch und schön, Così barbara mercè? Duet for soprano and tenor with
ließ Alexander dich erstehn, Dite voi se in tanto affanno orchestra WoO93 1802/03
als ihn die Neva scheiden sah! Non son degna di pietà?
Preis ihm, Heil dir, Germania! Pietro Metastasio Ne’ giorni tuoi felici
Germania! Germania! ricordati di me!
Wie stehst Du jetzt gewaltig da! 2. PRIMO AMORE Perchè così mi dici,
Nennt deutscher Mut sich deutsch und Scene and aria for soprano and anima mia, perché?
frei, orchestra WoO 92, ca. 1795‐1800 Taci, bell’ idol mio!
klingt Friedrich Wilhelm Dank dabei, Primo amore piacer del ciel, Parla, mio dolce amor!
Ein Wall von Eisen stand er da! penetrasti il mio cor; Ah, che tacendo/parlando oh Dio!
Preis ihm, Heil dir, Germania! io trovai l’amate deh! Tu mi trafiggi il cor!
Germania! Germania! Ma di più non è per me. Veggo languir chi adoro,
Wie stehn der Fürsten Scharen da! Scherza un altro coll’amore quando nè intendo il suo languir.
Von alter Zwietracht keine Spur, amate Di gelosia mi moro
getreu den Banden der Natur, l’abbandona, cercasi un nuovo amore e non lo posso dir!
so kommen sie von fern und nah! e deride ognuna fede. Chi mai provò di questo
Preis ihm, Heil dir, Germania! affanno più funesto,
Germania! Germania! RECITATIVE più barbaro dolor!

Wie stehst Du ewig dauernd da! Non conosce il vero amore, chi non
5. TREMATE EMPI, TREMATE
Was Sehnsucht einzeln still gedacht, sente un gran dolore,
Terzetto for soprano, tenor and bass
wer hat´s zu einem Ziel gebracht? quando l’idolo del core fugge in
with orchestra Op.116 1801‐02
Franz ‐ Kaiser Franz! ‐ Victoria! braccio d’un altro amante;

Preis ihm, Heil dir, Germania! non conosce il vero amore. BASS
Ma se il dardo trapuntava gl’ambi Tremate empi tremate
17. CHOR AUF DIE VERBÜNDETEN cuori degli amanti, dell’ire mie severe
Fürsten “Ihr weisen Gründer” (Chorus e poi viene divisione, or sola morte, sù quelle fronti altere
on the allied princes “You wise morte consola, il fulmine cadrà.
founder”) WoO95 quando poi viene divisione, or sola
Ihr weisen Gründer glücklicher morte, de pur consola morte. SOPRANO
Staaten, Risparmia, o Dio, quel sangue!
neigt euer Ohr dem Jubelgesang; ARIA
Es ist die Nachwelt, die eure Tatenmit Tal amor, piacer del ciel TENOR
Segen preist Äonen lang! penetrava il mio cor, Fà ch’io sol cada e sangue,
io trovai la cara deh!
Ma di più non è per me.
75

BOTH Mutter, Mutter, Schmäherei! 9. SOLL EIN SCHUH NICHT DRÜCKEN

sfoga lo sdegno in me! Sünd ist küssen? Ist es eine? WoO91/2
Nun ich armer Sünder meine, LENE (SOPRANO)
BASS dass sie nicht zu lassen sei. Soll ein Schuh nicht drücken,
Ambi frenati io voglio, Ja, ich meine, muß man sich anschicken
vittima al mio rigore! dass sie nicht zu lassen sei. und überall das erste Mal
sich selber hinbemühen,
SOPRANO K. E. K. Schmidt ihn an den Fuß zu ziehen.
D’un innocente ardore, Denn oft fehlt’s an Geduld,
TENOR 7. MIT MÄDELN SICH VERTRAGEN, den Schuh recht anzufassen,
o barbara mercè. WoO90 den Fuß darein zu passen.
Mit Mädeln sich vertragen, Doch hat der Meister Schuld,
BASS mit Männern rumgeschlagen, voraus bei einer Frau,
Tolgansi agli occhi miei und mehr Kredit als Geld: die will nur sehr genau
quegli abborriti sposi! so kommtt man durch die Welt. den Fuß im Schuhe rühren
Mit vielem läßt sich schmausen, und doch und doch mit Gunst!
SOPRANO mit wenig läßt sich hausen; dabei kein Drücken spüren.
A, quest’affanno. daß wenig vieles sei, Das fordert Kunst!
schafft nur die Lust herbei. Er sei bequem, jedoch nicht weit,
TENOR Will sie sich nicht bequemen, hübsch spitzig, und nur ja nicht breit,
Ai pianti so müßt ihrs eben nehmen. und doch und doch mit Gunst!
Will einer nicht vom Ort, Hätt’s Not, dass man zuweilen
BASS so jagt ihn grade fort. den Fuß erst dürfte feilen,
hò die macigno il cor. Laßt alle nur mißgönnen, Das fordert Kunst!
was sie nicht nehmen können,
SOPRANO und seid von Herzen froh;
Son queste amato bene das ist das A und O.
le amabili catene So fahret fort zu dichten, CD70
onde m’avvinse amor. euch nach der Welt zu richten. KANTATE AUF DEN TOD KAISER
Bedenkt in Wohl und Weh JOSEPHS II. (CANTATA ON THE DEATH
TENOR dies goldne A B C. OF EMPEROR JOSEPH II)
Son questi idolo mio
for 2 solo voices, chorus and orchestra
quei cari lacci oh Dio Johann Wolfgang von Goethe
WoO87, 1790
che ci serbava amor,

son questi oh’Dio,
1. NO.1 SOLOS AND CHORUS
TWO ARIAS
Tot! Tot, stöhnt es durch die öde
BASS from the Singspiel Die schöne
Nacht,
è quest’avversi Dei Schusterin by Ignaz Umlauff after the
Felsen, weinet es wieder!
dunque la fè che in lei French opéra comique “Le Souliers
Und ihr Wogen des Meeres, heulet es
facea sperarmi amor. mordorés ou la Cordonnière
durch eure Tiefen: Joseph der große ist
allemande“ en 2 actes du Marquis de
tot!
ALL Ferrières, musique de Fridzeri German
Joseph, der Vater unsterblicher Taten,
Stelle tiranne omai by Gottlieb Stephanie d.J. WoO91
ist tot, ach tot.
ò tollerato assai, 1796.

si fiera crudeltà.
2. NO.2 RECITATIVE (BASS)
8. O WELCH EIN LEBEN! WoO91/1
Ein Ungeheuer, sein Name Fanatismus,
Giovanni de Gamerra BARON (TENOR)
stieg aus den Tiefen der Hölle, dehnte
O welch ein Leben! Ein ganzes Meer
sich zwischen Erd’ und Sonne, und es
von Lust und Wonne fließt um mich
ward Nacht!
SINGSPIEL ARIAS her,

mir blühet Freude auf jeder Bahn,
3. ARIA
6. PRÜFUNG DES KÜSSENS und was ich suche, das lacht mich an,
Da kam Joseph, mit Gottes Stärke,
Aria for bass and orchestra part of an und was ich höre, ist Jubelton,
Riß das tobende Ungeheuer weg,
unknown Singspiel WoO89 (around und was ich fühle, entzückt mich
weg zwischen Erd’ und Himmel
1790) schon.
und trat ihm auf ’s Haupt,
Wohl mir! Ich werbe um Minneshold,
dem tobenden Ungeheu’r,
Meine weise Mutter spricht: und alle Mädchen sind mir so hold.
dem Ungeheuer trat er auf ’s Haupt.
“Küssen, küssen, Kind, ist Sünde!“ Von manchem Auge, das freundlich

Und ich armer Sünder finde, blinkt,
4. NO.3 ARIAS WITH CHORUS
dass das Ding so böse nicht. wird Glück der Liebe mir zugewinkt,
Da stiegen die Menschen an’s Licht,
Mord und Diebstahl, weiß ich wohl, was glänzet schöner als Mädchenblick,
da drehte sich glücklicher die Erd’ um
ist ein schreckliches Vergehen, was gleicht auf Erden der Liebe Glück?
die Sonne und die Sonne wärmte mit
aber Trotz! Den will ich sehen, Auf steilen Höhen, im stillen Tal,
Strahlen der Gottheit.
der mir das beweisen soll! beim Licht des Mondes, im

Meine Küsse stehl’ ich nicht, Sonnenstrahl,
5. NO.4 RECITATIVE (SOPRANO)
Doris gibt von freien Stücken, bei Tanz und Spielen, beim
Er schläft von den Sorgen seiner
ich ich seh’s an ihren Blicken, Rundgesang,
Welten entladen. Still
dass ihr wenig Leid geschieht. bei sanftem Flöten‐ und Hörnerklang
ist die Nacht, nur ein schauerndes
Oft begibt es sich, dass wir sind gute Menschen an Freuden reich;
Lüftchen weht wie
uns vor Lust die Lippen beißen, seid auch so glücklich und freuet euch!
aber soll das Morden heißen?
Gott bewahre mich dafür!
76

Grabes Hauch mir an die Wange. 10. NO.2 RECITATIVE 2. NO.2 REZITATIV

Wessen unsterbliche Seele du seist, BASS LEADER OF THE PEOPLE
Lüftchen, wehe leiser! Ihr staunt, Völker der Erde! Daß O seht sie nah und näher treten!
Hier liegt Joseph im Grabe und Teutonicus Geschlechtern Fülle des Jetzt aus der Glanzflut hebt sicht die
schlummert im friedlichen Segens ward? Sehet, er kommt in der Gestalt!
Schlaf ’ entgegen dem Tag der Rechten des Friedens Palme Der Kaisermantel ist´s, der von dem
Vergeltung, wo du glückliches Grab ihn In seiner Mine Deutschlands Ruh’ und Rücken
zu ewigen Kronen gebierst. Glück der Menschheit Der Kommenden zur Erde niederwallt!
Lächeln weht auf der Lippe. Heil ihm! Sechst Kronen zeigt er den Blicken;
6. ARIA: an diesem hat den Busenschluß
Hier schlummert seinen stillen Frieden 11. NO. 3 RECITATIVE der Aar geheftet mit den goldńen
der große Dulder, der hienieden TENOR AND TERZET Spangen, und um des Leibes Faltenguß
kein Röschen ohne Wunde brach, der Wie bebt mein Herz vor Wonne! seh ich des Isters Silbergürtel prangen.
große Dulder, Völker,
der unter seinem vollen Herzen weint nicht mehr! Ich sah GENIUS
das Wohl der Menschheit unter ihn lächeln, sah’s wie er Frieden gebot, Erkennst Du nicht das heimische
Schmerzen bis an sein Lebensende wie da die Freude der Völker Gebild?
trug. laut gen Himmel erscholl! Da wohnen Auf seinem Wappenschild
nicht mehr der Jammer erscheinet dir die Lerchenschaar,
7. CHORUS AND SOLO QUARTET Nachtschauer, der Nationen brennen der gothisch alte Thurm,
Tot! Tot, stöhnt es durch die öde Nacht Tränen nicht mehr. Die Stürme sind der Doppelaar, der durch Gebraus und
vorüber. Sturm
S. A. Averdonk in tausendjähr’gem Flug
TERZET Sein Volk empor zu dieser Glorie trug.
Ihr, die Joseph ihren Vater nannten,
KANTATE AUF DIE ERHEBUNG weint nicht mehr! CHORUS
LEOPOLDS II. ZUR KAISERWÜRDE Groß wie der, den wir als Vater Vienna, Vienna, Vienna!
(CANTATA ON THE ACCESSION OF kannten, Kronengschmückte,
EMPEROR LEOPOLD II) ist auch er. Götterbeglückte,
for solo voices, chorus and orchestra Völker, weint nicht mehr! Herrscher bewirthende Bürgerin,
WoO88, 1790 Groß wie Joseph ist auch er. Sei gegrüsst
von den Völkern allen und Zeiten,
8. NO.1 RECITATIVE 12. NO.4 CHORUS die an dir vorüberschreiten,
SOPRANO Heil! Stürzet nieder, Millionen, denn jetzt bist du, du der Städte
Er schlummert! an dem rauchenden Altar! Königin,
Blicket auf zum Herrn der Thronen,
CHORUS der euch dieses Heil gebar! NO.3 ARIA WITH CHOIR
Laßt sanft den großen Fürsten ruhen! Erschallet, Jubelchöre, VIENNA
dass laut die Welt es höre! O Himmel! Welch Entzücken!
SOPRANO Er gab uns Jubel und Heil, Welch Schauspiel zeigt sich meinen
Als er starb, da rief der Tod Weh über er gab uns Frieden und Heil! Blicken!
die Völker aus ... Groß ist er! Was nur die Erde Hoch und Hehres
da riefen die Söhne Teut’s gegen die hat, in meinen Mauern hat es sich
Sterne: S. A. Averdonk versammelt!
Weh! Weh! Erbarmend sah Jehovah Der Busen pocht! Die Zunge stammelt!
herab – Europa bin ich ‐ nicht mehr eine Stadt.
Da schwanden die Schrecken der Der Heros der den Fuß
Nacht. CD71 aufstellet auf den Wolkenschemel,
Da rötet der Himmel sich wieder und CANTATE “DER GLORREICHE den alten Kaukasus
schon donnern aus eisernen Schlünden AUGENBLICK” OP.136 und von dem Eismeer bis zur Memel
Jubel und Heil, 1. NO.1 CHORUS Ausbreitet seine Segenshand.
das da kam vom Olympus herab. Europa steht! Europa steht! Der Herrscher an der Spree Strand.
Heil! Da glänzt eine Wolke heran. Und die Zeiten, Die ewig, schreiten, der, als sein Land verloren,
Sie teilt sich – Der Völker Chor, sein Reich geboren.
Ha, was seh’ ich! Er ist’s Und die alten Jahrhundert’, Der König, der am fernen Belt
Leopold, unser Kaiser, Fürst und Vater, Sie schauen verwundert, das Vaterhaus und Scepter hält;
wie er! Verwundert empor! der Wittelsbacher, dessen Land und
Wer muss die Hehre sein, Schild
9. ARIA die, von dem Wunderschein Ein Bild der Kraft sind und der Güte.
Fließe, Wonnezähre, fließe! der alten Götterwelt umzogen, Und der Gekrönte auch, der mit der
Hörst du nicht der Engel Grüße herauf aus Osten geht Kraft
über dir? Germania! in einer Fürstin Majestät der Babenberger wirkt und schafft
Hörst du nicht der Engel Grüße Und auf des Friedens Regenbogen. in Deutschlands Paradiese!
süß wie Harfenlispel tönen? Viele entzückte Völker stehn,
Weil mit Segen dich zu krönen rufend zu der herrlichen, 3. Alle die Herrscher darf ich grüßen,
vom Olymp Jehovah sah. kronengeschmückten all die Völker freundlich küssen!
Germania! lichtumflossenen Gestalt:
Deine Wonnezähre fließe! Steh und halt! Halt, Halt ... CHORUS
Gib der grossen Völkerrunde Heil Vienna dir und Glück!
Auf den Anruf Red’ und Kunde! Stolze Roma, trete zurück!

77

VIENNA In meinen Mauern Die Unschuld als Chor,

Und das Höchste seh ich geschehń bauen sich neue Zeiten auf, sie wagt es zu kommen,
und mein Volk wird Zeuge stehń, und alle Völker schauen Es treten hervor
wenn ein gesprengter Weltteil wieder mit kindlichem Vertrauen die Kinder, die frommen,
sich zum Ringe, zum Ringe sich gefüget und lautem Jubel d’rauf. Herz, Himmel und Scepter
und schliesst, mit Blumengewinden
und zum Bunde friedlicher Brüder SEER zusammen zu binden.
sich die gelöste Menschheit küßt. Sieh wie die Fahnen alle
der Herr zusammenband CHORUS OF MEN
CHORUS und sie auf deinem Walle, Auch wir treten hervor,
Welt! Dein glorreicher Augenblick! zur Schau dem Weltenballe, die Mannen der Heere,
hinaushängt in das Land. Ein krieg’rischer Chor
VIENNA mit Fahnen und Wehre,
Und nach meines Kaisers Rechten VIENNA AND SEER Und fühlen die hoogste
greifen die Herrscherhände all, So ist auf meinem Mauerbogen der Vaterland’swonnen
einen ewigen Ring zu flechten. Europas Hauptwach’ aufgezogen Sich also zu sonnen.
und auf meinem gesprengten Wall
baut sich Europa wieder auf. FÜHRER DES VOLKS CHORUS
O Volk, das groß getragen Vindobona, Heil und Glück,
CHORUS das blutige Geschick, Welt, dein großer Augenblick!
Heil Vienna, dir und Glück! dir ist zu schönen Tagen
Feire den glorreichen Augenblick. die Pforte aufgeschlagen A.Weissenbach
in diesem Augenblick, in diesem
4. NO.4 REZITATIV Augenblick.
SEER MEHRSTIMMIGE ITALIENISCHE
Das Auge schaut, in dessen SEER GESÄNGE WoO99
Wimpergleise Dem Wort laß Jubel schallen,
die Sonnen auf‐ und niedergeh’n, das deine Burgwand trägt. 7. NO.1 BEI LABBRI CHE AMORE
die Stern’ und Völker ihre Bahnen Es hat in ihren Hallen Bei labbri che amore
drehń, ein Pfand nie zu verfallen, formò per suo nido,
O seht es über jenem Kreise Der Ew’ge eingelegt. non ho più timore.
der Kronenträger glänzend stehn! Vi credo, mi fido:
Dies Aug’, es ist das Weltgericht, SEER AND LEADER OF THE PEOPLE Giuraste d’amarmi;
das die zusammen hier gewunken, Europas Diademe alle, mi basta così.
Um derentwillen nicht Europa Se torno a lagnarmi
In dem Blutmeer ist versunken. GENIUS che Nice mi offenda,
O knieet, Völker, hin und betet Erkenn’ es, bete an! per me più non splenda
zuerst zu dem, der Euch gerettet! la luce del dì,
Dem die erste Zähre SEER AND LEADER OF THE PEOPLE la luce del dì.
droben in dem Sonnenhaus, Auf einem eingeworf ’nen Walle, Bei labbri...
der schon in dem Sturme drauß’
mit der Allmacht Hand GENIUS 8. NO.2 SEI MIO BEN
Könige und Heere Das hat der Herr gethan. Sei mio ben,
aneinanderflocht und band. sei mio conforto,
GENIUS UND FÜHRER DES VOLKS per te porto al cor catene,
CHORUS Kein Aug’ ist da, perte pene Amor mi dà.
Gott die erste Zähre das seinem Fürsten nicht begegnet, Per te calma e pace spero,
droben in dem Sonnenhaus etc. col pensiero a te m’aggiro:
VIENNA AND SEER Né sospiro altra beltà,
5. NO.5 REZITATIV UND QUARTETT Kein Herz ist nah’, né sospiro altra beltà.
SEER das nicht sein Landesvater segnet,
Der den Bund im Sturme fest gehalten, 9. NO.3 SCRIVO IN TE
er wird den Bau der neuen Welt, ALL FOUR Scrivo in te l’amato nome
der neuen Zeit auch festgestalten, Und diesen Glanz, di colei per cui mi moro,
Dass d’ran des Frevels Arm zerschellt. und diesen Glorienbogen caro al sol felice alloro,
hat Gott in unsern Franz come Amor l’ impresse in me
VIENNA Um eine ganze Welt gezogen. come Amor l’ impresse in me.
Ewig wird der Ölzweig grünen, Qual tu serbi ogni tua fronda,
den der Chor dieser, die den Bau jetzt 6. NO.6 CHORUS serbi Clori a me costanza;
gründen, CHORUS OF WOMEN ma non sia la mia speranza
Um Europas Säulen winden, Es treten hervor infeconda al par di te,
die Schaaren der Frauen, infeconda al par di te.
SEER den glänzenden Chor
Denn es steht ein Herz davor, der Fürsten zu schauen, 10. NO.8 FRA TUTTE LE PENE
auf alle dei Kronen Fra tutte le pene
LEADER OF THE PEOPLE den heiligen Segen v’é pena maggiore?
Und es ist ein Gott mit ihnen, der Mütter zu legen. Son presso al mio bene,
sospiro d’amore,
GENIUS e dirgli non oso:
Und die alten Zeiten werden sospiro per te.
endlich wieder sein auf Erden. CHORUS OF CHILDREN Mi manca il valore
VIENNA
78

per tanto soffrire; Che nel sen della mia bella Ah, non ritorno mai,

mi manca il ardire Tante volte, io lo rammento, la fierezza Mai più sereno il dì.
per chiedere mercè, intenerì, Questo de’ giorni miei,
per chiedere mercè. Tante volte, la fierezza intenerì. questo è il più chiaro giorno,
viver così vorrei,
11. NO.5 FRA TUTTE LE PENE 19. NO.13 CHI MAI DI QUESTO CORE vorrei così morir,
see track 10 Chi mai di questo core viver, così, così vorrei,
Saprà le vie segrete, vorrei morir così.
12. NO.6 SALVO TU VOI Se voi non lo sapete,
Salvo tu vuoi lo sposo? Begli occhi del mio ben?
Salvo lo sposo avrai: Voi, che dal primo istante,
Lascia del tuo riposo Quando divenni amante, CD72
Lascia la cura a me. Il mio nascosto amore 1. MEERESSTILLE UND GLÜCKLIGE
I dubbi tuoi perdono; Mi conosceste in sen, FAHRT OP.112
Tutto il mio cor non sai: Mi conosceste in sen. Tiefe Stille herrscht im Wasser,
Ti spiegherà chi sono Chi mai di... Ohne Regung ruht das Meer,
Quel ch’io farò per te Und bekümmert sieht der Schiffer
Ti spiegherà chi sono 20. NO.14 GIÀ LA NOTTE S’AVVICINA Glatte Fläche rings umher.
Quel ch’io farò per te. Già la notte s’avvicina, Keine Luft von Keiner Seite!
viene o Nice, amato bene, Todesstille fürchterlich!
13. NO.7 MA TU TREMI della placida marina In der ungeheuren Weite
Ma tu tremi, o mio tesoro, le fresch’aure a respirar. Reget keine Welle sich.
ma tu palpiti, cor mio! Non so dir che sia diletto Johann Wolfgang von Goethe
Non temer; con te son io, chi non posa in queste arene
né d’amor ti parlerò, or che un lento Zefiretto
né d’amor ti parlerò. dolcemente increspa il mar. 2. FANTASIE C‐MOLL (CHORFANTASIE,
Mentre folgori e baleni 1808) OP.80
Sarò te co amata Nice; 21. NO.15 NEI CAMPE E NELLE SELVE Schmeichelnd hold und lieblich klingen
Quando il ciel si rassereni, Nei campe e nelle selve unsers Lebens Harmonien
Nice ingrata, io partirò, Seguivo già le belve, und dem Schönheitssinn entschwingen
Nice ingrata, io partirò. Pascevo il gregge ancor Blumen sich, die ewig blühn.
Ma tu tremi, ... Libero pastorello, libero cacciator. Fried’ und Freude gleiten freundlich
Ora non son più quello: wie der Wellen Wechselspiel;
14. NO.8 GIURA IL NOCCHIER Perdei la libertà. was sich drängte rauh und feindlich,
Giura il nocchier che al mare E quel ch’è peggio oh Dio! ordnet sich zu Hochgefühl.
Non presterà più fede, Come se il mio tormento Wenn der Töne Zauber walten
Ma, se tranquillo il vede Colpa non sia di lei und des Wortes Weihe spricht,
Corre di nuovo al mar, Mostrare al mio lamento muss sich Herrliches gestalten,
Corre di nuovo al mar. Clori non vuol pietà, Nacht und Stürme werden Licht,
Di non tratar più l’armi Mostrare al mio lamento äuß’re Ruhe, inn’re Wonnen
Giura il guerier tal volta, Clori non vuol pietà. herrschen für den Glücklichen.
Ma se una tromba ascolta, Nei campe... Doch der Künste Frühlingssonne
Già non si può frenar, lässt aus beiden Licht entstehn.
Già non si può frenar. 22. NO.16 NEI CAMPE E NELLE SELVE Großes, das ins Herz gedrungen,
see track 21. blüht dann neu und schön empor;
15. NO.9 PER TE D’AMICO APRILE hat ein Geist sich aufgeschwungen,
Per te d’amico aprile 23. NO.17 FRA TUTTE LE PENE hallt ihm stets ein Geisterchor.
Sempre s’adorni il ciel; see track 10. Nehmt denn hin, ihr schönen Seelen,
Né all’ombra tua gentile froh die Gaben schöner Kunst.
Posi Ninfa crudel, 24. NO.18 FRA TUTTE LE PENE Wenn sich Lieb’ und Kraft vermählen,
Pastor infido. see track 10. lohnt dem Menschen Götter Gunst.
Fra le tue verdi foglie 25. NO.19 QUELLA CETRA AH PUR TU
Augel di nere spoglie SEI 3. ELEGISCHER GESANG, ’SANFT WIE
Mai non racolga il vol; see track 18. DU LEBTEST’ OP.118
E Filomena sol Sanft, wie du lebtest, hast du
Vi faccia il nido, 26. NO.20 QUELLA CETRA AH PUR TU vollendet,
Vi faccia il nido. SEI zu heilig für den Schmerz!
see track 18. Kein Auge wein’ ob
16. NO.10 FRA TUTTE LE PENE des himmlischen Geistes Heimkehr.

see track 10 27. NO.21 GIURA IL NOCCHIER Ignaz Franz Castelli
see track 14.
17. NO.11 FRA TUTTE LE PENE 4. BUNDESLIED OP.122
see track 10 28. NO.22 GIURA IL NOCCHIER In allen guten Stunden,
see track 14. Erhöht von Lieb’ und Wein,
18. NO.12 QUELLA CETRA AH PUR TU Soll dieses Lied verbunden
SEI 29. NO.23 GIÀ LA NOTTE S’AVVICINA Von uns gesungen sein!
Quella cetra ah pur tu sei see track 20. Uns hält der Gott zusammen,
Che adolcì gli affanni miei, Der uns hierher gebracht.
Che d’ogni alma a suo talento, 30. NO.24 E PUR FRA LE TEMPESTE Erneuert unsre Flammen,
D’ogni cor la via s’aprì. E pur fra le tempeste Er hat sie angefacht.
Ah! Sei tu, tu sei pur quela, La calma io ritrovai: So glühet fröhlich heute,
79

Seid recht von Herzen eins! Er lebe, er lebe, er lebe!
Auf, trinkt erneuter Freude 10. ABSCHIEDSGESANG AN WIENS
Dies Glas des echten Weins! SOLO BÜRGER WoO121
Auf, in der holden Stunde Edel, edel, edel handeln, ja edel Keine Klage soll erschallen,
Stoßt an, und küsset treu, handeln, Wenn von hier die Fahne zieht,
Bei jedem neuen Bunde, sei sein schönster Beruf! Tränen keinem Aug’ entfallen,
Die alten wieder neu! Dann wird ihm nicht entgehen der Das im Scheiden nach ihr sieht.
Wer lebt in unserm Kreise, schönste Lohn. Es ist Stolz auf diese Zierde
Und lebt nicht selig drin? Es lebe, es lebe unser theurer, theurer Und Gefühl der Bürgerwürde,
Genießt die freie Weise Fürst! Was auf Aller Wangen glüht.
Und treuen Brudersinn! Er lebe, er lebe, er lebe! Freunde! wünscht ihr Siegestönen
So bleibt durch alle Zeiten Uns zur edlen Reise Glück.
Herz Herzen zugekehrt; CHORUS Heiter, folg’ uns nach ihr Schönen!
Von keinen Kleinigkeiten Er lebe, er lebe, er lebe ja! Euer seelenvoller Blick!
Wird unser Bund gestört. Es lebe, es lebe unser theurer, theurer Unser’s Landes Ruhm zu mehren,
Uns hat ein Gott gesegnet Fürst! Zieh’n wir mutig hin und kehren
Mit freiem Lebensblick, Unser theurer, theurer Fürst! Würdiger zu euch zurück.
Und alles, was begegnet, Er lebe, er lebe, er lebe, er lebe! Bess’re Menschen, bess’re Bürger,
Erneuert unser Glück. Als wir nun von hinnen geh’n,
Durch Grillen nicht gedränget, 7. KURZ IST DER SCHMERZ FÜR LOUIS Keine sittenlose Würger,
Verknickt sich keine Lust; SPOHR (KANON) WoO166 Sollt ihr in uns wiederseh’n.
Durch Zieren nicht geenget, Kurz ist der Schmerz, Unser Wien empfängt uns wieder,
Schlägt freier unsre Brust. ewig ist die Freude! Ruhmbekränzet, stark und bieder;
Mit jedem Schritt wird weiter Auf! laßt hoch die Fahne weh’n!
Die rasche Lebensbahn, 8. OPFERLIED HESS91 Laßt uns folgen dieser Fahne,
Und heiter, immer heiter SOLO Durch Theresens Kunstwerk reich;
Steigt unser Blick hinan. Die Flamme lodert, milder Schein Deren Goldband uns ermahne:
Uns wird es nimmer bange, Durchglänzt den düstern Eichenhain Tugend mach uns Fürsten gleich.
Wenn alles steigt und fällt, Und Weihrauchdüfte wallen. Ha! wenn wir zurück sie bringen,
Und bleiben lange, lange! O neig’ ein gnädig Ohr zu mir Wollen wir im Jubel singen:
Auf ewig so gesellt. Und laß des Jünglings Opfer dir, Dieses Band hielt Österreich!
Du Höchster, wohlgefallen.
Johann Wolfgang von Goethe Friedelberg
CHORUS
5. CANTATA CAMPESTRE “UN LIETO O neig’ ein gnädig Ohr zu mir 11. KRIEGSLIED DER ÖSTERREICHER
BRINDISI” WoO103 Und laß des Jünglings Opfer dir, WoO122
Johannisfeier begehn wir heute! Du Höchster, wohlgefallen. Ein großes deutsches Volk sind wir,
Wie sonst es war, sei’s heute auch, Sind mächtig und gerecht.
Freudig, freudig erhebt euch, liebe SOLO Ihr Franken das bezweifelt ihr?
Leute, Sei stets der Freiheit Wehr und Schild! Ihr Franken kennt uns schlecht!
Leert das Glas nach altem Brauch! Dein Lebensgeist durchatme mild Denn unser Fürst ist gut,
Wir wissen schon, wem man heute Luft, Erde, Feu’r und Fluten! Erhaben unser Mut,
trinkt! Gib mir als Jüngling und als Greis Süß uns’rer Trauben Blut,
Auf, leert das Glas nach altem Brauch! Am väterlichen Herd, o Zeus, Und uns’re Weiber schön;
Wir wissen schon, wem man heute Das Schöne zu dem Guten. Wie kann’s uns beßer geh’n?
trinkt! Wir streiten nicht für Ruhm und Sold,
Freudig erhebt euch, liebe Leute, CHORUS Nur für des Friedens Glück!
leert das Glas, auf, leert euer Glas! Gib mir als Jüngling und als Greis Wir kehren, arm an fremden Gold,
Freudig, freudig, freudig, freudig! Am väterlichen Herd, o Zeus, Zu unser’m Herd zurück.
Bei uns geborgen, lass ab von Sorgen, Das Schöne zu dem Guten.
Freude dir winkt, ja, Freude dir winkt. Friedrich von Matthisson Denn guten Bürgern nur
Tausend Gebete schweben dankbar Blüht Segen der Natur
aus allen Herzen, 9. HOCHZEITSLIED WoO105 Auf Weinberg, Wald und Flur.
die du zum Leben einst auferweckt, SOLO Gerecht ist unser Krieg;
die zum Leben du erweckt. Auf, Freunde, singt dem Gott der Uns, uns gehört der Sieg!
Trost bringst du den Armen, du hilfst Ehen! Mit Piken, Sensen und Geschoß
ihnen gern, Preist Hymen hoch am Festaltar, Eilt Klein und Groß herbei!
wo die Hoffnung schon fern, spendest Dass wir des Glückes Huld erflehen, Für’s Vaterland stimmt Klein und Groß,
du Erbarmen. Erflehen für ein edles Paar! Stimmt an das Feldgeschrei!
Retter du den Kranken! Sieh uns Vor allem lasst in frohen Weisen Da steh’n wir unverwandt
verzagt! Den würd’gen Doppelstamm uns Für Haus und Hof und Land
Würdig zu danken, bebend von uns preisen, Mit Waffen in der Hand
niemand wagt. Dem dieses edle Paar entspross, Und schlagen mutig d’rein,
Dir, Johannes Dank die Nachwelt sagt! Dem dieses edle Paar entspross! Wie viel auch ihrer sei’n!
Dank dir sagt! Mann, Weib und Kind in Österreich
CHORUS Fühlt tief den eig’nen Wert.
6. BIRTHDAY CANTATA FOR PRINCE Vor allem lasst in frohen Weisen Nie, Franken! werden wir von euch
LOBKOWITZ WoO106 Den würd’gen Doppelstamm uns Besieget, nie betört.
SOLO preisen, Denn unser Fürst ist gut,
Es lebe unser theurer Fürst! Dem dieses edle Paar entspross, Erhaben unser Mut,
Er lebe, er lebe, er lebe! Dem dieses edle Paar entspross! Süß uns’rer Trauben Blut,
CHORUS
80

Und uns’re Weiber schön; Ach sieh’, wie Bangigkeit, wie JESUS

Wie kann’s uns beßer geh’n? Todesangst So ruhe denn mit ganzer Schwere
mein Herz mit Macht ergreift! auf mir, mein Vater, dein Gericht.
Friedelberg Ich leide sehr, mein Vater! Gieß über mich den Strom der Leiden,
O sieh! Ich leide sehr, nur zürne Adams Kindern nicht!
12. OPFERLIED WoO126 erbarm’ dich mein!
Die Flamme lodert, milder Schein SERAPH
Durchglänzt den düstern Eichenhain 3. ARIA Erschüttert seh’ ich den Erhabnen
Und Weihrauchdüfte wallen. JESUS in Todesleiden eingehüllt.
O neig’ ein gnädig Ohr zu mir Meine Seele ist erschüttert Ich bebe, und mich selbst umwehen
Und laß des Jünglings Opfer dir, von den Qualen, die mir dräun. die Grabesschauer, die er fühlt.
Du Höchster, wohlgefallen. Schrecken faßt mich, und es zittert
Sei stets der Freiheit Wehr und Schild! gräßlich schaudernd mein Gebein. JESUS, SERAPH
Dein Lebensgeist durchatme mild Wie ein Fieberfrost ergreifet Groß sind die Qual, die Angst, die
Luft, Erde, Feu’r und Fluten! mich die Angst beim nahen Grab, Schrecken,
Gib mir als Jüngling und als Greis und von meinem Antlitz träufet die Gottes Hand auf mich/ihn ergießt,
Am väterlichen Herd, o Zeus, statt des Schweißes Blut herab. doch größer noch ist meine/seine
Das Schöne zu dem Guten. Vater! tief gebeugt und kläglich Liebe,

fleht dein Sohn hinauf zu dir: mit der mein/sein Herz die Welt
Friedrich von Matthisson
Deiner Macht ist alles möglich, umschließt.

nimm den Leidenskelch von mir!
13. ES IST VOLLBRACHT WoO97
NO.4 RECITATIVE AND CHORUS

NO.2 RECITATIVE, ARIA AND CHORUS 10. RECITATIVE
14. OPFERLIED OP.121B
4. RECITATIVE JESUS
Die Flamme lodert, milder Schein
SERAPH Willkommen, Tod, den ich am Kreuze
Durchglänzt den düstern Eichenhain
Erzittre, Erde! Jehovah’s Sohn liegt zum Heil der Menschheit blutend
Und Weihrauchdüfte wallen.
hier, sterbe!
O neig’ ein gnädig Ohr zu mir
sein Antlitz tief in Staub gedrückt, O seid in eurer kühlen Gruft gesegnet,
Und laß des Jünglings Opfer dir,
vom Vater ganz verlassen, die ein ew’ger Schlaf in seinen Armen
Du Höchster, wohlgefallen.
und leidet unnennbare Qual. hält,
Sei stets der Freiheit Wehr und Schild!
Der Gütige! Er ist bereit, ihr werdet froh zur Seligkeit erwachen!
Dein Lebensgeist durchatme mild
den martervollsten Tod zu sterben,
Luft, Erde, Feu’r und Fluten!
damit die Menschen, die er liebt, 11. CHORUS OF SOLDIERS
Gib mir als Jüngling und als Greis
vom Tode auferstehen und ewig Wir haben ihn gesehen
Am väterlichen Herd, o Zeus,
leben! nach diesem Berge gehen,
Das Schöne zu dem Guten.
entfliehen kann er nicht,
Friedrich von Matthisson
5. ARIA sein wartet das Gericht!

SERAPH

Preist des Erlösers Güte, NO.5 RECITATIVE AND CHORUS

preist, Menschen, seine Huld! 12. RECITATIVE
CD73
Er stirbt für euch aus Liebe, JESUS
CHRISTUS AM ÖLBERGE OP. 85
sein Blut tilgt eure Schuld. Die mich fragen zu fangen ausgezogen
Text F.X. Huber
sind, sie nahen nun.

6. SERAPH AND CHORUS OF ANGELS Mein Vater! O führ’ in schnellem Flug
NO.1 INTRODUCTION, RECITATIVE
O Heil euch, ihr Erlösten, der Leiden Stunden an mir vorüber,
AND ARIA
euch winket Seligkeit, daß sie fliehn, rasch, wie die Wolken,
1. INTRODUCTION
wenn ihr getreu in Liebe, die ein Sturmwind treibt,

in Glaub’ und Hoffnung seid. an deinen Himmeln ziehn.
2. RECITATIVE
Doch nicht mein Wille,
JESUS
7. Doch weh! Die frech entehren nein, dein Wille nur geschehe.
Jehovah, du mein Vater!
das Blut, das für sie floß,
O sende Trost und Kraft und Stärke
sie trifft der Fluch des Richters, 13. CHORUS OF SOLDIERS
mir!
Verdammung ist ihr Los. Hier ist er, der Verbannte,
Sie nahet nun, die Stunde meiner
der sich im Volke kühn
Leiden,
NO.3 RECITATIVE AND DUET der Juden König nannte,
von mir erkoren schon, noch eh’ die
8. RECITATIVE ergreift und bindet ihn!
Welt
JESUS Chorus of youths
auf dein Geheiß dem Chaos sich
Verkündet, Seraph, mir dein Mund Was soll der Lärm bedeuten?
entwand.
Erbarmen meines ew’gen Vaters? Es ist um uns geschehn!
Ich höre deines Seraphs
Nimmt er des Todes Schrecknisse von Umringt von rauhen Kriegern,
Donnerstimme.
mir? wie wird es uns ergehn?
Sie fordert auf, wer statt der
Erbarmen, ach, Erbarmen!
Menschen
SERAPH Es ist um uns geschehn!
sich vor dein Gericht jetzt stellen will.
So spricht Jehovah:
O Vater! Ich erschein’ auf diesen Ruf.
Eh’ nicht erfüllet ist
Vermittler will ich sein,
das heilige Geheimnis der Versöhnung,
ich büße, ich allein, der Menschen
so lange bleibt das menschliche
Schuld.
Geschlecht
Wie könnte dies Geschlecht, aus Staub
verworfen und beraubt des ew’gen
gebildet,
Lebens.
ein Gericht ertragen, das mich,
9. DUET
deinen Sohn, zu Boden drückt!
81

NO.6 RECITATIVE, TERZET AND gerechter Zorn und Wut. Auf! Ergreifet den Verräter,

CHORUS Laß meine Rache kühlen weilet hier nun länger nicht.
14. RECITATIVE in der Verweg’nen Blut! Fort jetzt mit dem Missetäter.
PETRUS Schleppt ihn schleunig vor Gericht!
Nicht ungestraft soll der Verweg’nen JESUS
Schar Du sollst nicht Rache üben! CHORUS OF YOUTHS
dich Herrlichen, Ich lehrt’ euch bloß allein, Ach! Wir werden seinetwegen
dich, meinen Freund und Meister, die Menschen alle lieben, auch gehaßt, verfolget sein.
mit frecher Hand ergreifen. dem Feinde gern verzeihn! Man wird uns in Bande legen
martern und dem Tode weihn.
RECITATIVE SERAPH
JESUS Merk’ auf, o Mensch, und höre: JESUS
O laß dein Schwert in seiner Scheide Nur eines Gottes Mund Meine Qual ist bald verschwunden,
ruhn! macht solche heil’ge Lehre der Erlösung Werk vollbracht,
Wenn es der Wille meines Vaters der Nächstenliebe kund. bald ist gänzlich überwunden
wäre, Seraph, Jesus, Petrus und besiegt der Hölle Macht!
aus der Gewalt der Feinde mich zu O Menschenkinder, fasset
retten, dies heilige Gebot: 17. CHORUS OF ANGELS
so würden Legionen Engel Welten singen Dank und Ehre
bereit zu meiner Rettung sein. Liebt jenen, der euch hasset, dem erhab’nen Gottessohn.
nur so gefallt ihr Gott!
15. TERZET 18. Preiset ihn, ihr Engelchöre,
PETRUS 16. CHORUS laut im heil’gen Jubelton!
In meinen Adern wühlen CHORUS OF SOLDIERS

82

CD74 & CD75
MASS IN C MAJOR OP.86 & MISSA SOLEMNIS IN D MAJOR OP.123
1. KYRIE
Kyrie eleison! Lord, have mercy upon us!
Christe eleison! Christ have mercy upon us!
Kyrie eleison! Lord, have mercy upon us!

2. GLORIA
Gloria in excelsis Deo, et in terra pax Glory be to God on high, and peace on
hominibus bonae voluntatis. earth to men of good will.
Laudamus te, benedicimus te, adoramus We praise Thee, we bless Thee, We adore
te, glorificamus te. Thee, we glorify Thee
Gratias agimus tibi propter magnam We give Thee thanks for Thy great glory.
gloriam tuam. O Lord God! O heavenly King!
Domine Deus, Rex coelestis! O God, the Father Almighty!
Deus Pater omnipotens! O Lord Jesus Christ, the only‐begotton Son!
Domine, Fili unigenite, Jesu Christe! O Lord God! Lamb of God! Son of the Father!
Domine Deus! Agnus Dei! Filius Patris! O Thou, who takest away the sins of the
Qui tollis peccata mundi! miserere world! have mercy upon us; receive our
nobis; suscipe depracationem nostram. prayer.
Qui sedes ad dexteram Patris, miserere O Thou, who sittest at the right hand of
nobis. the Father! have mercy on us.
Quoniam tu solus sanctus, tu solus For Thou alone art holy, Thou alone art
Dominus, tu solus altissimus, Jesu Lord, Thous alone art most high, O jesus
Christe! cum Sancto Spiritu in gloria Dei Christ! together with the Holy Ghost, in
Patris, Amen. the glory of God the Father, Amen.

3. CREDO
Credo in unum Deum, patrem I believe in one God, the Father
omnipotentem, factorem cæli et terræ Almighty, maker of heaven and earth, of
visibilium omnium et invisibilium. all things visible and invisible.
Credo in unum Dominum Jesum I believe in one Lord Jesus Christ,
Christum, the only‐begotten Son of God; and born
Filium Dei unigenitum; et ex Patre of the Father before all ages.
natum ante omnia sæcula. God of Gods, Light of Light,
Deum de Deo, Lumen de Lumine: true God of true God;
Deum verum de Deo vero; begotten, not made; consubstantial to
Genitum, non factum; consubstantialem the Father, by Whom all things were
Patri, per quem omnia facta sunt; made;
Qui propter nos homines, et propter Who for us men and for our salvation,
nostram salutem, descendit de cælis, came down from heaven,
et incarnatus est de Spiritu Sancto ex and became incarnate by the Holy Ghost
maria Virgine, et homo factus est. of the Virgin Mary, and was made man.
Crucifixus etiam pro nobis; sub Pontio He was crucified also forus; suffered
Pilato passus et sepultus est, under Pontius Pilate and was buried,
Et resurrexit tertia die, secundum And the third day He arose again
Scripturas. according to the Scriptures.
Et ascendit in cælum, sedet ad dexteram And ascended into heaven, and sitteth at
Patris. the right hand of the Father.
Et iterum venturus est cum gloria And He is to come again, with glory, to
judicare vivos et mortuos; cujus regni judge both the living and the dead; of
non erit finis. whose kingdom there shall be no end.
Credo in Spiritum Sanctum, Dominum I believe in the Holy Ghost, the Lord and
et vivificantem, Giver of life,
qui ex Patre Filioque procedit; qui cum Who proceedeth from the Father and the
Patre et Filio simul adoratur et Son;Who, together with the Father and
conglorificatur; qui locutus est per the Son, is adored and glorified;Who
prophetas. spoke by the prophets.
Credo in unam sanctam Catholicam et I believe in one holy Catholic and
Apostolicam Ecclesiam. Apostolic Church.
Confiteor unum Baptisma in I confess one baptism for
remissionem peccatorum. the remission of sins.
Et expecto resurrectionem mortuorum, And I expect the resurrection of the
et vitam venturi sæculi. Amen. dead, and the life of the world to come. Amen.

83

4. SANCTUS
Sanctus Dominus Deus Sabaoth. Holy is the Lord God Sabaoth.
Pleni sunt cæli et terra gloria tua. Heaven and earth are fully of Thy Glory.
Osanna in excelsis! Hosanna in the highest!
Benedictus qui venit in nomine Blessed is he who cometh in the name of
Domini! the Lord!
Hosanna in excelsis! Hosanna in the highest!

5. AGNUS DEI
Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takest away the sins
miserere nobis. Agnus Dei, of the world, have mercy upon us. O Lamb of God, grant us
dona nobis pacem. peace.
Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takest away the sins
miserere nobis. Agnus Dei, dona nobis of the world, have mercy upon us, O Lamb of God, grant us
pacem. peace.

CD76 Halben Wegs entgegenkäme, Küßte wohl ihn.

LIEBESLIEDER Und dein Mund den Wechselkuß Würd’ ich zur Abendluft,
1. DAS GLÜCK DER FREUNDSCHAFT Gerne gäb’ und wieder nähme: Nähm’ ich mir Blüthenduft,
OP.88 Dann, o Himmel, außer sich, Hauchte dir zu.
Der lebt ein Leben wonniglich, Würde ganz mein Herz zerlodern! Weilend auf Brust und Mund,
Deß Herz ein Herz gewinnt; Leib und Leben könnt’ ich Fänd’ ich dort Ruh’.
Geteilte Lust verdoppelt sich, Dich nicht vergebens lassen fodern! Geht doch kein’ Stund der Nacht,
Geteilter Gram zerrinnt. Gegengunst erhöhet Gunst, Ohn’ daß mein Herz erwacht
Beblümte Wege wandelt ab, Liebe nähret Gegenliebe, Und an dich denkt.
Wem trauliches Geleit; Und entflammt zur Feuersbrunst, Wie du mir tausendmal
Den Arm die gold’ne Freundschaft gab Was ein Aschenfünkchen bliebe. Dein Herz geschenkt.
In dieser eh’rnen Zeit. Wohl dringen Bach und Stern,
Sie weckt die Kraft und spornt den Mut 3. DER LIEBENDE WoO.139 Lüftlein und Vöglein fern,
Zu schönen Taten nur, Welch ein wunderbares Leben, Kommen zu dir.
Und nährt in uns die heil’ge Glut Ein Gemisch von Schmerz und Lust, Ich nur bin festgebannt,
Für Wahrheit und Natur. Welch ein nie gefühltes Beben Weine allhier.
Erflogen hat des Glückes Ziel, Waltet jetzt in meiner Brust!
Wer eine Freundin fand, Herz, mein Herz, was soll dies Pochen? 5. AN DIE HOFFNUNG OP.32
Mit der der Liebe Zartgefühl Deine Ruh’ ist unterbrochen, Die du so gern in heil’gen Nächten
Ihn inniglich verband. Sprich, was ist mit dir gescheh’n? feierst
Entzückt von ihr, ihr beigesellt, So hab’ ich dich nie geseh’n! Und sanft und weich den
Verschönert sich die Bahn; Hat dich nicht die Götterblume Gramverschleierst,
Durch sie allein blüht ihm die Welt Mit dem Hauch der Lieb’ entglüht, Der eine zarte Seele quält,
Und Alles lacht ihn an. Sie, die in dem Heiligthume O Hoffnung! Laß, durch dich empor
Reiner Unschuld auf geblüht? gehoben,
2. SEUFZER EINES UNGELIEBTEN UND Ja, die schöne Himmelsblüthe Den Dulder ahnen, daß dort oben
GEGENLIEBE WoO118 Mit dem Zauberblick voll Güte Ein Engel seine Thränen zählt!
Seufzer eines Ungeliebten: Hält mit einem Band mich fest, Wenn, längst verhallt, geliebte
Hast du nicht Liebe zugemessen Das sich nicht zerreissen läßt! Stimmen schweigen;
Dem Leben jeder Kreatur? Oft will ich die Theure fliehen; Wenn unter ausgestorb’nen Zweigen
Warum bin ich allein vergessen, Thränen zittern dann im Blick, Verödet die Erinn’rung sitzt:
Auch meine Mutter du! du Natur? Und der Liebe Geister ziehen Dann nahe dich, wo dein Verlas’’ner
Wo lebte wohl in Forst und Hürde, Auf der Stelle mich zurück. trauert
Und wo in Luft und Meer, ein Tier, Denn ihr pocht mit heißen Schlägen Und, von der Mitterwacht umschauert,
Das nimmermehr geliebet würde? Ewig dieses Herz entgegen, Sich auf versunk’ne Urnen stützt.
Geliebt wird alles, wird alles ausser Aber ach, sie fühlt es nicht, Und blickt er auf, das Schicksal
mir, ja alles außer mir! Was mein Herz im Auge spricht! anzuklagen,
Wenngleich im Hain, auf Flur und Wenn scheidend über seinen Tagen
Matten 4. RUF VOM BERGE WoO147 Die letzten Strahlen untergehn:
Sich Baum und Staude, Moos und Wenn ich ein Vöglein wär’ Dann laß’ ihn um den Rand des
Kraut Und auch zwei Flüglein hätt’, Erdentraumes
Durch Liebe und Gegenliebe gatten; Flög ich zu dir! Das Leuchten eines Wolkensaumes
Vermählt sich mir doch keine Braut. Weils aber nicht kann sein, Von einer nahen Sonne seh’n!
Mir wächst vom süßesten der Triebe Blieb ich allhier.
Nie Honigfrucht zur Lust heran. Wenn ich ein Sternlein wär’ 6. AN DIE HOFFNUNG OP. 94
Denn ach! Mir mangelt Gegenliebe, Und auch viel Strahlen hätt’, Ob ein Gott sei?
Die Eine, nur Eine gewähren kann. Strahlt’ ich dich an. Ob er einst erfülle,
Gegenliebe: Und du säh’st freundlich auf, Was die Sehnsucht weinend sich
Wüßt’ ich, daß du mich lieb und wert Grüßtest hinan. verspricht?
Ein bißchen hieltest, Wenn ich ein Bächlein wär’ Ob, vor irgendeinem Weltgericht,
Und von dem, was ich für dich, Und auch viel Wellen hätt’, Sich dies rätselhafte Sein enthülle?
Nur ein Hundertteilchen fühltest; Rauscht’ ich durch’s Grün. Hoffen soll der Mensch! Er frage nicht!
Daß dein Dank hübsch meinem Gruß Nahte dem kleinen Fuß,
84

Die du so gern in heilgen Nächten 11. ICH DENKE DEIN WoO74 16. DIE LAUTE KLAGE WoO.135

feierst Ich denke dein, Turteltaube, du klagest so laut
Und sanft und weich den Gram mein! wenn mir der Sonne Schimmer Und raubest dem Armen
verschleierst, von Meeren strahlt, seinen einzigen Trost,
Der eine zarte Seele quält, ich denke dein, Süßen vergessenden Schlaf.
O Hoffnung! Laß, durch dich wenn sich des Mondes Flimmer Turteltaub’, ich jammre wie du,
emporgehoben, in Quellen malt. Und berge den Jammer
Den Duldner ahnen, daß dort oben in’s verwundete Herz,
Ein Engel seine Tränen zählt! 12. LIED DIE LIEBE OP.52 NO.6 In die verschlossene Brust.
Wenn, längst verhallt, geliebte Ohne Liebe lebe, Ach, die hart verteilende Liebe!
Stimmen schweigen wer da kann; Sie gab dir die laute
Wenn unter ausgestorbnen Zweigen Wenn er auch ein Mensch schon Jammerklage zum Trost,
Verödet die Erinnerung sitzt: bliebe, Mir den verstummenden Gram!
Dann nahe dich, wo dein Verlaßner Bleibt er doch kein Mann.
trauert, Süße Liebe, 17. ALS DIE GELIEBTE SICH TRENNEN
Und, von der Mitternacht umschauert, mach’mein Leben süß, WOLLTE WoO132
Sich auf versunkne Urnen stützt. Stille ein die regen Triebe Der Hoffnung letzter Schimmer sinkt
Und blickt er auf, das Schicksal Sonder Hindernis! dahin,
anzuklagen, Schmachten lassen sei Sie brach die Schwüre all’ mit
Wenn scheidend über seinen Tagen der Schönen Pflicht; flücht’gem Sinn;
Die letzten Strahlen untergehn: Nur uns ewig schmachten lassen, So schwinde mir zum Trost auch
Dann laß ihn, um den Rand des Dieses sei sie nicht! immerdar
Erdentraumes, Bewußtsein, Bewußtsein, daß ich zu
Das Leuchten eines Wolkensaumes 13. DAS BLÜMCHEN WUNDERHOLD glücklich war!
Von einer nahen Sonne sehn! OP.52 NO.8 Was sprach ich? Nein, von diesen
Es blüht ein Blümchen irgendwo meinen Ketten
7. AN DIE GELIEBTE WoO140 In einem stillen Tal. Kann kein Entschluß, kann keine Macht
O daß ich dir vom stillen Auge das schmeichelt Aug’ und Herz so froh mich retten;
In seinem liebevollen Schein wie Abendsonnenstrahl. Ach! selbst am Rande der
Die Träne von der Wange sauge, Das ist viel köstlicher als Gold, Verzweifelung bleibt ewig,
Eh sie die Erde trinket ein! als Perl’ und Diamant. Bleibt ewig süß mir die Erinnerung!
Wohl hält sie zögernd auf der Wange Drum wird es “Blümchen Wunderhold” Ha! holde Hoffnung, kehr’ zu mir
Und will sie heiß der Treue weihn. mit gutem Fug genannt. zurücke,
Nun ich sie so im Kuß empfange, Wohl sänge sich ein langes Lied Reg’ all mein Feuer auf mit einem
Nun sind auch deine Schmerzen mein, Von meines Blümchens Kraft; Blicke,
ja mein!. Wie es am Leib’ und am Gemüt Der Liebe Leiden seien noch so groß,
So hohe Wunder schafft. wer liebt,
8. AN DIE GELIEBTE (2ND SETTING) Was kein geheimes Elixier Wer liebt, fühlt ganz unglücklich nie
WoO140 Dir sonst gewähren kann, sein Los!
O daß ich dir vom stillen Auge Das leistet traun! mein Blümchen dir. Und du, die treue Lieb’ mit Kränkung
In seinem liebevollen Schein Man säh’ es ihm nicht an. lohnet,
Die Träne von der Wange sauge, Ach! hättest du nur die gekannt, Fürcht’ nicht die Brust, in der dein Bild
Eh sie die Erde trinket ein! Die einst mein Kleinod war noch wohnet,
Wohl hält sie zögernd auf der Wange Der Tod entriß sie meiner Hand Dich hassen könnte nie dies fühlend’
Und will sie heiß der Treue weihn. Hart hinterm Traualtar ‐ Herz,
Nun ich sie so im Kuß empfange, Dann würdest du es ganz verstehn, Vergessen, vergessen? eh’ erliegt es
Nun sind auch deine Schmerzen mein, Was Wunderhold vermag, seinem Schmerz.
ja mein!. Und in das Licht der Wahrheit sehn,
Wie in den hellen Tag. 18. DAS LIEDCHEN VON DER RUHE
9. SELBSTGESPRÄCH WoO114 OP.52 NR.3
Ich, der mit flatterndem Sinn 14. SCHILDERUNG EINES MÄDCHENS Im Arm der Liebe ruht sich’s wohl,
bisher ein Feind der Liebe bin WoO.107 Wohl auch im Schoß der Erde.
und es so gern beständig bliebe, Schildern, willst du Freund, Ob’s dort noch, oder hier sein soll,
ich, ach, ich glaube, daß ich liebe. soll ich dir Elisen? Wo Ruh’ ich finden werde:
Der ich sonst Hymen angeschwärzt Möchte Uzens Geist in mich Das forscht mein Geist und sinnt und
und mit der Liebe nur gescherzt, sich ergießen! denkt
der ich im Wankelmut mich übe, Wie in einer Winternacht Und fleht zur Vorsicht, die sie schenkt.
ich glaube, daß ich Doris liebe. Sterne strahlen, Und fleht zur Vorsicht, die sie schenkt.
Denn ach, seitdem ich sie gesehn, Würde ihrer Augen Pracht In Arm der Liebe ruht sich’s wohl,
ist mir kein’ andre Schöne schön. Oeser malen. Mir winkt sie ach! vergebens.
Ach, die Tyrannin meiner Triebe, Bei dir Elise find ich wohl
ich glaube gar, daß ich sie liebe. 15. AN MINNA WoO115 Die Ruhe meines Lebens.
Nur bei dir, an deinem Herzen Dich wehrt mir harter Menschen Sinn
10. GEDENKE MEIN WoO130 fliehen Sorge, Gram und Schmerzen, Und in der Blüte welk’ ich hin!
Gedenke mein, ich denke dein! und die Stifterin der Leiden, Und in der Blüte welk’ ich hin!
Ach, der Trennung Schmerzen unsre Liebe schafft uns Freuden,
versüßt mir die Hoffnung die kein Gott mir ohne dich,
die kein Gott dir ohne mich
schaffen, keiner geben kann,
du mein Weib und ich dein Mann!

85

19. SEHNSUCHT WoO146 In Grönland freuten sie sich sehr, 5 DER ZUFRIEDENE OP.75 NR.6

Die stille Nacht umdunkelt Mich ihres Ort’s zu sehen, Zwar schuf das Glück hienieden
Erquickend Tal und Höh’, Und setzten mir den Trankrug her: Mich weder reich noch groß,
Der Stern der Liebe funkelt Ich ließ ihn aber stehen. Allen ich bin zufrieden,
Sanft wandelnd in dem See. Da hat er gar nicht übel drum getan, Wie mit dem schönsten Los.
Verstummt sind in den Zweigen Verzähl’ er doch weiter, Herr Urian! So ganz nach meinem Herzen
Die Sänger der Natur; Von hier ging ich nach Mexico ‐ Ward mir ein Freund vergönnt,
Geheimnisvolles Schweigen Ist weiter als nach Bremen ‐ Denn Küßen, Trinken, Scherzen
Ruht auf der Blumenflur. Da, dacht’ ich, liegt das Gold wie Stroh; Ist auch sein Element.
Ach, mir nur schließt kein Schlummer Du sollst’n Sack voll nehmen. Mit ihm wird froh und weise
Die müden Augen zu: Da hat er gar nicht übel drum getan, manch Fläschchen ausgeleert!
Komm, lindre meinen Kummer, Verzähl’ er doch weiter, Herr Urian! denn auf der Lebensreise
Du stiller Gott der Ruh! D’rauf kauft’ ich etwas kalte Kost ist Wein
Sanft trockne mir die Tränen Und Kieler Sprott und Kuchen Wenn mir bei diesem Lose
Gib süßer Freude Raum, Und setzte mich auf Extrapost, Nun auch ein trüb’res fällt,
Komm, täusche hold mein Sehnen Land Asia zu besuchen. So denk’ ich: keine Rose
Mit einem Wonnetraum! Da hat er gar nicht übel drum getan, Blüht dornlos in der Welt.
O zaubre meinen Blicken Verzähl’ er doch weiter, Herr Urian!
Die Holde, die mich flieht, Der Mogul ist ein großer Mann VIER ARIETTEN UND EIN DUETT MIT
Laß mich ans Herz sie drücken, Und gnädig über Massen ITALIENISCHEM TEXT OP.82
Daß edle Lieb’ entglüht! Und klug; er war itzt eben dran, 6. HOFFNUNG OP.82 NO.1
Du Holde, die ich meine, ‘n Zahn auszieh’n zu lassen. Dimmi, ben mio, che m’ami,
Wie sehn’ ich mich nach dir; Da hat er gar nicht übel drum getan, Dimmi che mia tu sei.
Erscheine, ach, erscheine Verzähl’ er doch weiter, Herr Urian! E non invidio ai Dei
Und läche Hoffnung mir! Hm! dacht’ ich, der hat Zähnepein, La lor’ divinità!
Bei aller Größ’ und Gaben! Con un tuo sguardo solo,
Was hilfts denn auch noch Mogul sein? Cara, con un sorriso
Die kann man so wohl haben! Tu m’apri il paradiso
CD 77 Da hat er gar nicht übel drum getan, Di mia felicità!
SCHERZLIEDER Verzähl’ er doch weiter, Herr Urian!
1. AUS GOETHE’S FAUST: ES WAR Ich gab dem Wirth mein Ehrenwort, 7. LIEBESKLAGE OP.82 NO.2
EINMAL EIN KÖNIG OP.75 NO.3 Ihn nächstens zu bezahlen; T’intendo, sì, mio cor,
Es war einmal ein König, Und damit reist’ ich weiter fort, Con tanto palpitar!
Der hatt’ einen großen Floh, Nach China und Bengalen. So che ti vuoi lagnar,
Den liebt’ er gar nicht wenig, Da hat er gar nicht übel drum getan, Che amante sei.
Als wie seinen eig’nen Sohn. Verzähl’ er doch weiter, Herr Urian! Che amante sei.
Da rief er seinen Schneider, Und fand es überall wie hier, Ah! taci il tuo dolor,
Der Schneider kam heran; Fand überall ‘n Sparren, Ah! soffri il tuo martir
“Da, miß dem Junker Kleider Die Menschen grade so wie wir, Tacilo, tacilo e non tradir
Und miß ihm Hosen an!” Und eben solche Narren. L’affetti miei, l’affetti miei!
In Sammet und in Seide Da hat er gar nicht übel drum getan,
War er nun angetan, Verzähl’ er doch weiter, Herr Urian! 8. L’AMANTE IMPATIENTE (STILLE
Hatte Bänder auf dem Kleide, FRAGE) OP.82 NO.3
Hatt’ auch ein Kreuz daran, 3. TRINKLIED WoO109 Che fa, che fa il mio bene?
Und war sogleich Minister, Erhebt das Glas mit froher Hand Perchè, perchè non viene?
Und hatt einen großen Stern. Und trinkt euch heitren Mut, Vedermi vuole languir
Da wurden seine Geschwister Wenn schon, den Freundschaft euch Così, così, così!
Bei Hof auch große Herrn. verband, Oh come è lento nel corso il sole!
Und Herrn und Frau’n am Hofe, Nun das Geschicke trennt, Ogni momento mi sembra un dì,
Die waren sehr geplagt, So heitert dennoch euren Schmerz Ogni momento mi sembra un dì,
Die Königin und die Zofe Und kränket nicht des Freudes Herz, Sì, sì, mi sembra un dì!
Gestochen und genagt, Erheitert, Brüder, euren Schmerz Ah! che fa, che fa il mio bene?
Und durften sie nicht knicken, Und kränket nicht des Freundes Herz. Perchè, perchè non viene?
Und weg sie jucken nicht. Nun trinkt, erhebt den Becher hoch, Vedermi vuole languir
Wir knicken und ersticken Ihr Brüder, hoch und singt Così, così, così!
Doch gleich, wenn einer sticht. Nach treuer Freude weisem Brauch Perchè, perchè non vien il mio ben,
Und singt das frohe Lied, Languir, languir, vedermi vuole così!
2. URIANS REISE UM DIE WELT OP.52 uns trennt das Schicksal, doch es bricht Perchè, ah! perchè non vien il mio ben,
NO.1 die Freundschaft treuer Herzen nicht. Languir, languir, vedermi vuole, languir
Wenn jemand eine Reise tut, Così, così, sì, vedermi languir così,
So kann er was erzählen. 4. PUNSCHLIED WoO111 Così, così!
D’rum nahm ich meinen Stock und Hut Wer nicht, wenn warm von Hand zu
Und tät das Reisen wählen. Hand 9. L’AMANTE IMPATIENTE
Da hat er gar nicht übel dran getan, der Punsch im Kreise geht, (LIEBESUNGEDULD) OP.82 NO.4
Verzähl’ er doch weiter, Herr Urian! der Freude voller Lust empfand, Che fa, che fa il mio bene?
Zuerst ging’s an den Nordpol hin; der schleiche schnell hinweg. Perchè, perchè non viene?
Da war es kalt bei Ehre! Wir trinken alle hocherfreut, Vedermi vuole languir
Da dacht’ ich denn in meinem Sinn, so lang uns Punsch die Kumme beut. Così, così, così!
Das es hier beßer wäre... Oh come è lento nel corso il sole!
Da hat er gar nicht übel drum getan, Ogni momento mi sembra un dì,
Verzähl’ er doch weiter, Herr Urian! Ogni momento mi sembra un dì,
86

Sì, sì, mi sembra un dì! Pour moi sans appas. Der die Palme der Vergeltung trägt,

Ah! che fa, che fa il mio bene? Le coeur me palpite Aus dem dunkeln Tal zu jenem Leben
Perchè, perchè non viene? Quand j’entens ta voix. Deine edle Seele zu erleben,
Vedermi vuole languir Tout mon sang s’agite, Wo der Richter unsre Taten wägt.
Così, così, così! Dès que je te vois; Dann töne Gottes ernste Waage
Perchè, perchè non vien il mio ben, Ouvrez‐tu la bouche? Wonne
Languir, languir, vedermi vuole così! Les cieux vont s’ouvrir; Dir, von jedem Mißklang frei,
Perchè, ah! perchè non vien il mio ben, Si ta main me touche, und der Freund an deinem Grabe sage:
Languir, languir, vedermi vuole, languir Je me sens frémir. Glücklicher, der letzte deiner Tage
Così, così, sì, vedermi languir così, War ein Sonnenuntergang im Mai.
Così, così! 16. PLAISIR D’AIMER WoO128
Plaisir d’aimer besoin d’une âme 20. ABENDLIED UNTERM GESTIRNTEN
10. LEBENSGENUß OP.82 NO.5 Tendre que vous avez HIMME WoO150
Odi l’aura che dolce sospira, De pouvoir sur mon coeur! Wenn die Sonne niedersinket,
Menre fugge scuotendo le fronde; De vous, hélas, en voulant me Und der Tag zur Ruh sich neigt,
Se l’intendi, ti parla d’amor. défendre Luna freundlich leise winket,
Senti l’onda, che rauca saggira, Je perds la paix sans trouver le Und die Nacht herniedersteigt;
Mentre geme radendo le sponde; bonheur. Wenn die Sterne prächtig schimmern,
Se l’intendi, si lagna d’amor. Tausend Sonnenstraßen flimmern:
Quell’ affetto chi sente nel petto, 17. DER WACHTELSCHLAG WoO129 Fühlt die Seele sich so groß,
Sa per prova, Horch, wie schallt’s dorten so lieblich Windet sich vom Staube los.
Se nuoce, se giova, hervor: Schaut so gern nach jenen Sternen,
Se diletto produce o dolor! Fürchte Gott, fürchte Gott! Ruft mir Wie zurück ins Vaterland,
die Wachtel ins Ohr. Hin nach jenen lichten Fernen,
11. O CARE SELVE WoO119 Sitzend im Grünen, von Halmen Und vergißt der Erde Tand;
O care selve, umhüllt, Will nur ringen, will nur streben,
O cara felice libertà! Mahnt sie den Horcher am Ihre Hülle zu entschweben:
Qui se un piacer si gode, Saatengefild: Erde ist ihr eng und klein,
Parte non v’ha la frode, Liebe Gott, liebe Gott! Er ist so gütig, Auf den Sternen möcht sie sein.
ma la condisce a gara amore e fedeltà. so mild. Ob der Erde Stürme toben,
Wieder bedeutet ihr hüpfender Schlag: Falsches Glück den Bösen lohnt:
12. LA PARTENZA (DER ABSCHIED) Lobe Gott, lobe Gott! Der dich zu Hoffend blicket sie nach oben,
WoO124 loben vermag. Wo der Sternenrichter thront.
Ecco quel fiero istante! Siehst du die herrlichen Früchte im Keine Furcht kann sie mehr quälen,
Nice, mia Nice, addio! Feld? Keine Macht kann ihr befehlen;
Come vivrò, ben mio, Nimm es zu Herzen, Bewohner der Mit verklärtem Angesicht,
così lontanda te? Welt: Schwingt sie sich zum Himmelslicht.
Lo vivrò sempre in pene, Danke Gott, danke Gott! Der dich Eine leise Ahnung schauert
Io non avrò piu bene, ernährt und erhält. Mich aus jenen Welten an;
E tu, chi sa, Schreckt dich im Wetter der Herz der Lange, lange nicht mehr dauert
Se mai ti sovverai di me! Natur: Meine Erdenpilgerbahn,
Bitte Gott, bitte Gott! Ruft sie, er Bald hab ich das Ziel errungen,
13. IN QUESTA TOMBA OSCURA schonet die Flur. Bald zu euch mich aufgeschwungen,
WoO.133 Machen Gefahren der Krieger dir bang: Ernte bald an Gottes Thron
In questa tomba oscura Traue Gott, traue Gott! Sieh’, Meiner Leiden schönen Lohn.
lasciami riposar; er verziehet nicht lang.
Quando vivevo, 21. KLAGE WoO113
ingrata, dovevi a me pensar. 18. DAS GEHEIMNIS WoO145 Dein Silber schien durch Eichengrün,
Lascia che l’ombre ignude Wo blüht das Blümchen, das nie Das Kühlung gab, auf mich herab,
godansi pace almen, verblüht? O Mond, o Mond und lachte Ruh’ mir
E non, e non bagnar mie ceneri Wo strahlt das Sternlein, das ewig frohem
d’inutile velen. glüht? Knaben zu.
Dein Mund, o Muse! dein heil’ger durch’s Fenster bricht,
14. LA TIRANNA WoO125 Mund Lacht’s keine Ruh’ mir Jüngling zu,
Ah grief to think! ah woe to name, Tu’ mir das Blümchen und Sternlein Sieht’s meine Wange blaß, mein Auge
The doom that fate has destin’d mine! kund. tränennaß.
Forbid to fan my wayward flame, Verkünden kann es dir nicht mein Bald, lieber Freund, ach bald
And, slave to silence, hopeless pine! Mund, Bescheint dein Silberschein den
Imperious fair! in fatal hour, Macht es dein Innerstes dir nicht kund! Leichenstein,
I mark’d the vived lightnings roll, Im Innersten glühet und blüht es zart, Der meine Asche birgt, des Jünglings
That gave to know thy ruthless pow’r, Wohl jedem, der es getreu bewahrt! Asche
And gleam’d destruction on my soul birgt!
19. AN LAURA WoO112
15. QUE LE TEMPS ME DURE WoO116 Freud’ umblühe dich auf allen Wegen 22. FEUERFARB OP.52 NO.2
Que le temps me dure Schöner, als sie je die Unschuld fand, Ich weiß eine Farbe, der bin ich so
Passé loin de toi, Seelenruh, des Himmels bester Segen, hold,
Toute la nature Walle dir wie Frühlingshauch Die achte ich höher als Silber und Gold;
n’est plus rien pour moi, entgegen, Die trag’ ich so gerne um Stirn und
Le plus verd boccage Bis zum Wiedersehn im Lichtgewand! Gewand
Quand tu n’y viens pas Lächelnd wird ein Seraph Und habe sie „Farbe der Wahrheit“
n’est qu’un lieu sauvage niederschweben, genannt.
87

Wohl blühet in lieblicher, sanfter 24. SO ODER SO WoO148 Gleich für die Freiheit geben,

Gestalt Nord oder Süd! Wenn nur im warmen Doch nichts verlieren kann;
Die glühende Rose, doch bleichet sie Busen Der ist ein freier Mann!
bald. Ein Heiligthum der Schönheit und der Ein freier, freier Mann!
Drum weihte zur Blume der Liebe man Musen,
sie; Ein götterreicher Himmel blüht! 27. OPFERLIED WoO.126
Ihr Reiz ist unendlich, doch welket er Nur Geistes Armuth kann der Winter Die Flamme lodert,
früh. morden: Milder Schein
Die Bläue das Himmels strahlt herrlich Kraft filgt zu Kraft, und Glanz zu Glanz Durchglänzt den düstern Eichenhain,
und mild, der Norden. Und Weihrauchdüfte wallen.
D’rum gab man der Treue dies Nord oder Süd! Wenn nur die Seele O neig’ ein gnädig Ohr zu mir
freundliche Bild. glüht! Und laß des Jünglings Opfer dir,
Doch trübet manch’ Wölkchen den Arm oder reich! Sei’s Pfirsich oder Du Höchster, wohlgefallen.
Äther so rein! Pflaume, Sei stets der Freiheit Wehr und Schild!
So schleichen beim Treuen oft Sorgen Wir pflücken ungleich von des Lebens Dein Lebensgeist durchathme mild
sich ein. Baume, Luft, Erde, Feu’r und Fluten!
Die Farbe des Schnees, so strahlend Dir zollt der Ast, mir nur der Zweig. Gib mir als Jüngling und als Greis
und licht, Mein leichtes Mahl wiegt darum nicht Am väterlichen Heerd, o Zeus,
Heißt Farbe der Unschuld, doch dauert geringe; Das Schöne zu dem Guten!
sie nicht. Lust am Genuß bestimmt den Wert der
Bald ist es verdunkelt, das blendende Dinge.
Kleid: Arm oder reich! Die Glücklichen sind
So trüben auch Unschuld Verläumdung reich! CD78
und Neid. Schlaf oder Tod! Willkommen, SONGS FOR ONE TO TWO SOLO
Warum ich, so fragt ihr, der Farbe so Zwillingsbrüder! VOICES AND PIANO
hold Der Tag ist hin, ihr zieht die Wimper
Den heiligen Namen der Wahrheit nieder. 1. DER GESANG DER NACHTIGALL,
gezollt? Traum ist der Erde Glück und Noth. WoO141
Weil flammender Schimmer von ihr Zu kurzer Tag! zu schnell verrauscht Höre, die Nachtigall singt: der Frühling
sich ergießt das Leben! ist wieder gekommen!
Und ruhige Dauer sie schützend Warum so schön und doch so rasch Wieder gekommen der Frühling und
umschließt. verschweben? deckt in jeglichem Garten
Ihr schadet der nässende Regenguß Schlaf oder Tod! Hell strahlt das Wohllustsitze, bestreut mit den
nicht, Morgenroth! silbernen Blüthen der Mandel.
Noch bleicht sie der Sonne Jetzt sei fröhlich und froh; er entflieht,
verzehrendes Licht: der blühende Frühling.
D’rum trag’ ich so gern sie um Stirn’ 25. DES KRIEGERS ABSCHIED WoO143 Gärten und Auen schmücken sich neu
und Gewand Ich zieh’ in’s Feld, von Lieb’ entbrannt, zum Feste der Freude;
Und habe sie “Farbe der Wahrheit” Doch scheid’ ich ohne Thränen; Blumige Lauben wölben sich hold zur
genannt. Mein Arm gehört dem Vaterland, Hütte der Freundschaft.
Mein Herz der holden Schönen; Wer weiß, ob er noch lebt, solange die
23. ELEGIE AUF DEN TOD EINES Denn zärtlich muß der wahre Held Laube noch blühet?
PUDELS WoO110 Stets für ein Liebchen brennen, Jetzt sei fröhlich und froh; er entflieht,
Stirb immerhin, es welken ja so viele Und doch für’s Vaterland im Feld der blühende Frühling.
Der Freunden auf der Lebensbahn, Entschlossen sterben können. Wie die Wangen der Schönen, so
Oft eh sie sinken in des Mittags Denk’ ich im Kampfe liebewarm blühen Lilien und Rosen;
Schwüle, Daheim an meine Holde, Farbige Tropfen hangen daran wie
Fängt schon der Tod sie abzumähen Dann möcht ich seh’n, wer diesem Edelgesteine.
an. Arm Täusche dich nicht; auch hoffe von
Auf meine Freude du! dir fließen Sich widersetzen wollte; keiner ewige Reize.
Zähren, Denn welch ein Lohn! wird Liebchens Jetzt sei fröhlich und froh; er entflieht,
Wie Freunde selten Freunden weihn, Hand der blühende Frühling.
Der Schmerz um dich kann nicht mein Mein Siegerleben krönen, Denke der traurigen Zeit, da alle
Aug entehren, Mein Arm gehört dem Vaterland, Blumen erkrankten,
Um dich Geschöpf, geschaffen mich zu Mein Herz der holden Schönen! Da der Rose das welkende Haupt zum
freun. Busen hinabsank;
Doch soll dein Tod mich nicht zu sehr 26. DER FREIE MANN WoO117 Jetzo beblümt sich der Fels; es grünen
betrüben, Wer, wer ist ein freier Mann? Hügel und Berge.
Du warst ja stets des Lachens Freund, Der, dem nur eig’ner Wille Jetzt sei fröhlich und froh; er entflieht,
Geblieben ist uns alles, war wir lieben, Und keines Zwingherrn Grille der blühende Frühling.
Kein Erdenglück bleibt lange Gesetze geben kann; Hier im reizenden Tal, hier unter
unbeweint. Der ist ein freier Mann! blühenden Schönen
Mein Herz soll nicht mit dem Ein freier, freier Mann! Sang, eine Nachtigall, ich der Rose.
Verhängnis zanken um eine lust, die es Wer, wer ist ein freier Mann? Rose der Freude,
verlor; Der das Gesetz verehret, Bist du verblühet einst, so verstummt
du lebe fort und gaukle im Gedanken Nichts thut, was es verwehret, die Stimme des Dichters.
Mir fröhliche Erinnerungen vor. Nichts will, als was er kann; Drum sei fröhlich und froh; er
Der ist ein freier Mann! entflieht, der blühende Frühling.

Ein freier, freier Mann!
Wer, wer ist ein freier Mann? Johann Gottfried Herder
Der, muß er Gut und Leben
2. NEUE LIEBE, NEUES LEBEN WoO127
88

Herz, mein Herz, was soll das geben? Der mir das Herz zerreißt. Merkenstein! Merkenstein!

Was bedränget dich so sehr? Und wie vom Berge zart und lind Wo ich wandle, denk’ ich dein.
Welch ein fremdes neues Leben! In’s süße Blumenland Wenn Aurora Felsen rötet,
Ich erkenne dich nicht mehr! Kastalia’s heil’ge Quelle rinnt: Hell im Busch die Amsel flötet,
Weg ist alles, was du liebtest, So wallt und rauscht im Morgenwind Weidend Herden sich zerstreun,
Weg, warum du dich betrübtest, Das silberne Gewand. Denk’ ich dein, Merkenstein!
Weg dein Fleiß und deine Ruh’, Nur leise rauscht sein Lied dahin Merkenstein! Merkenstein!
Ach, wie kamst du nur dazu! Beim grauen Dämmerschein, Dir nur hüllt die Nacht mich ein.
Fesselt dich die Jugendblüte, Und zu den hellen Sternen hin Ewig möcht’ ich wonnig träumen
Diese liebliche Gestalt, Entschwebt sein Herz, sein tiefer Sinn Unter deinen Schwesterbäumen,
Dieser Blick voll Treu und Güte In süßen Träumerei’n. Deinen Frieden mir verleihn!
Mit unendlicher Gewalt? Und still ergriff mich mehr und mehr Merkenstein! Merkenstein!
Will ich rasch mich ihr entziehen, Sein wunderbares Lied. Merkenstein! Merkenstein!
Mich ermannen, ihr entfliehen, Was siehst du, Geist, so bang und Weckend soll der Morgen sein,
Führet mich im Augenblick schwer? Laß uns dort von Ritterhöhen
Ach, mein Weg zu ihr zurück. Was suchst du dort im Sternenheer? Nach der Vorzeit Bildern spähen:
Und an diesem Zauberfädchen, Wie dir die Seele zieht! Sie, so groß und wir so klein!
Das sich nicht zerreissen läßt, Ich suche wohl, nicht find’ ich mehr, Merkenstein! Merkenstein!
Hält das liebe, lose Mädchen Ach, die Vergangenheit!
Mich so wider Willen fest, Ich sehe wohl so bang und schwer, Johann Baptist Rupprecht
Muß in ihrem Zauberkreise Ich suche dort im Sternenheer
Leben nun auf ihre Weise. Der Deutschen gold’ne Zeit. 7. MAN STREBT DIE FLAMME ZU
Die Veränd’rung, ach wie groß! Hinunter ging die Sonne schon, VERHEHLEN WoO120
Liebe, Liebe, laß mich los! Kaum blieb ein Wiederschein; Man strebt die Flamme zu verhehlen,
Mit Arglist und mit frechem Hohn die bei gefühlvoll edlen Seelen
Johann Wolfgang von Goethe Pflanzt nun die düstre Nacht den sich unbemerkt ins Herze stiehlt;
Mohn geheimnisvoll schließt man die Lippen,
3. SEUFZER EINES UNGELIEBTEN UND Um’s Grab der Väter ein. jedoch verrät sich bald mit Blicken,
GEGENLIEBE WoO118 Ja, herrlich, unerschüttert, kühn wie sehr man ach, die Liebe fühlt
Hast du nicht Liebe zugemessen Stand einst der Deutsche da; Ein Blick sagt mehr alt tausende
Dem Leben jeder Kreatur? Ach, über schwanke Trümmer zieh’n Worte,
Warum bin ich allein vergessen, Verhängnisvolle Sterne hin! ein Blick entriegelt oft die Pforte,
Auch meine Mutter du! du Natur? Es war Teutonia! der lang verhehlten Leidenschaft.
Wo lebte wohl in Forst und Hürde, Noch auf dem hohen Felsen sang Er zeigt dem Teuren, den ich liebe,
Und wo in Luft und Meer, ein Tier, Der alte Bardengeist. des Herzens reine, zarte Triebe
Das nimmermehr geliebet würde? Es tönt wie Äolsharfenklang und gibt ihm auszuharren Kraft.
Geliebt wird alles, wird alles ausser Ein banger schwerer Trauersang,
mir, ja alles außer mir! Der mir das Herz zerreißt. 8. MOLLYS ABSCHIED OP.52/5
Wenngleich im Hain, auf Flur und Lebewohl, du Mann der Lust und
Matten Franz Rudolf Herrmann Schmerzen,
Sich Baum und Staude, Moos und Mann der Liebe, meines Lebens Stab!
Kraut 5. DER LIEBENDE WoO139 Gott mit dir, Geliebter, tief zu Herzen
Durch Liebe und Gegenliebe gatten; Welch ein wunderbares Leben, Halle dir mein Segensruf hinab!
Vermählt sich mir doch keine Braut. Ein Gemisch von Schmerz und Lust, Zum Gedächtnis biet’ ich dir statt
Mir wächst vom süßesten der Triebe Welch ein nie gefühltes Beben Goldes,
Nie Honigfrucht zur Lust heran. Waltet jetzt in meiner Brust! Was ist Gold und goldeswerter Tand?
Denn ach! Mir mangelt Gegenliebe, Herz, mein Herz, was soll dies Pochen? Biet’ ich lieber was dein Auge Holdes,
Die Eine, nur Eine gewähren kann. Deine Ruh’ ist unterbrochen, Was dein Herz an Molly Liebes fand.
Wüßt’ ich, daß du mich lieb und wert Sprich, was ist mit dir gescheh’n? Vom Gesicht, der Waltstatt deiner
Ein bißchen hieltest, So hab’ ich dich nie geseh’n! Küße,
Und von dem, was ich für dich, Hat dich nicht die Götterblume Nimm, so lang’ ich ferne von dir bin,
Nur ein Hundertteilchen fühltest; Mit dem Hauch der Lieb’ entglüht, Halb zum Mindesten im Schattenrisse
Daß dein Dank hübsch meinem Gruß Sie, die in dem Heiligtume Für die Phantasie die Abschrift hin!
Halben Wegs entgegenkäme, Reiner Unschuld aufgeblüht? Nimm, du süßer Schmeichler, von den
Und dein Mund den Wechselkuß Ja, die schöne Himmelsblüte Locken,
Gerne gäb’ und wieder nähme: Mit dem Zauberblick voll Güte Die du oft zerwühltest und verschobst,
Dann, o Himmel, außer sich, Hält mit einem Band mich fest, Wann du über Flachs an Pallas Rocken,
Würde ganz mein Herz zerlodern! Das sich nicht zerreissen läßt! Über Gold und Seide sie erhobst!
Leib und Leben könnt’ ich Oft will ich die Teure fliehen; Meiner Augen Denkmal sei dies blaue
Dich nicht vergebens lassen fodern! Tränen zittern dann im Blick, Kränzchen flehender Vergißmeinnicht
Gegengunst erhöhet Gunst, Und der Liebe Geister ziehen Oft beträufelt von der Wehmut Taue,
Liebe nähret Gegenliebe, Auf der Stelle mich zurück. Der hervor durch sie von Herzen
Und entflammt zur Feuersbrunst, Denn ihr pocht mit heißen Schlägen bricht!
Was ein Aschenfünkchen bliebe. Ewig dieses Herz entgegen,
Aber ach, sie fühlt es nicht, Gottfried August Bürger
Gottfried August Bürger Was mein Herz im Auge spricht!

4. DER BARDENGEIST WoO142 Christian Ludwig Reissig
Dort auf dem hohen Felsen sang ein
alter Bardengeist;
Es tönt wie Äolsharfenklang
Im bangen schweren Trauersang, 6. MERKENSTEIN WoO144
89

9. SEHNSUCHT, 4 SETTINGS WoO134 Was hat man dir, du armes Kind, brach nicht die Furcht am nahen Grab,

Nur wer die Sehnsucht kennt getan? nicht Weibergunst, noch
Weiß, was ich leide! Kennst du es wohl? Menschenzwang,
Allein und abgetrennt Dahin! dahin nicht Gold, nicht Gut, noch
Von aller Freude, Möcht ich mit dir, o mein Beschützer, Fürstenrang.
Seh ich ans Firmament ziehn. Wenn so dein deutscher Ahne sprach,
Nach jener Seite. Kennst du den Berg und seinen dann folg’, als Sohn, dem Vater nach,
Ach! der mich liebt und kennt, Wolkensteg? der seinen Eid: Ein Wort, ein Mann,
Ist in der Weite. Das Maultier sucht im Nebel seinen als Mann von Wort verbürgen kann.
Es schwindelt mir, es brennt Weg; Nun sind wir auch der Deutschen wert,
Mein Eingeweide. In Höhlen wohnt der Drachen alte des Volkes, das die Welt verehrt.
Nur wer die Sehnsucht kennt Brut; Hier meine Hand; wir schlagen ein,
Weiß, was ich leide! Es stürzt der Fels und über ihn die Flut! und wollen deutsche Männer sein.
Kennst du ihn wohl?
Johann Wolfgang von Goethe Dahin! dahin Friedrich August Kleinschmidt
Geht unser Weg! O Vater, laß uns
10. AN DEN FERNEN GELIEBTEN ziehn! 14. DER EDLE MENSCHE WoO151
OP.75/5 Der edle Mensch sei
Einst wohnten süße Ruh’ und gold’ner Johann Wolfgang von Goethe Hülfreich und gut,
Frieden In meiner Brust; Hülfreich und gut.
Nun mischt sich Wehmut, ach! seit wir 12. GRETELS WARNUNG OP.75/4
geschieden, In jede Lust. Mit Liebesblick und Spiel und Sang Johann Wolfgang von Goethe
Der Trennung Stunde hör’ ich immer Warb Christel jung und schön;
hallen So lieblich war, so frisch und schlank 15. TRAUTE HENRIETTE HESS151
So dumpf und hohl, Kein Jüngling rings zu seh’n. Traute Henriette,
Mir tönt im Abendlied der Nachtigallen Nein, keiner war holdeste Brünette,
Dein Lebewohl! In ihrer Schaar, hast du Lieb fur mich?
Wohin ich wandle, schwebt vor Für den ich das gefühlt! Heit’re mein Gemüte,
meinen Blicken Das merkt er, ach! sänft’ge mein Geblüte!
Dein holdes Bild, Und ließ nicht nach, Mädchen, liebe mich,
Das mir mit banger Sehnsucht und Bis er es all, bis er es all, liebe mich!
Entzücken Bis er es all erhielt!
Den Busen füllt. Wohl war im Dorfe mancher Mann, 16. MERKENSTEIN, OP.100
Stets mahn’ es flehend deine schöne So jung und schön wie er; Merkenstein! Merkenstein!
Seele, Doch sah’n nur ihn die Mädchen an Wo ich wandle, denk’ ich dein.
Was Liebe spricht: Und kos’ten um ihn her. Wenn Aurora Felsen rötet,
Ach Freund! den ich aus einer Welt Bald riß ihr Wort Hell im Busch die Amsel flötet,
erwähle, Ihn schmeichelnd fort, Weidend Herden sich zerstreun,
Vergiß mein nicht! Gewonnen war sein Herz. Denk’ ich dein, Merkenstein!
Wenn sanft ein Lüftchen deine Locken Mir ward er kalt, Merkenstein! Merkenstein!
kräuselt Im Mondenlicht; Dann floh er bald Bei der schwülen Mittagspein
Das ist mein Geist, der flehend dich Und ließ mich hier, und ließ mich hier, Sehn’ ich mich nach deinen Gängen,
umsäuselt: und ließ mich hier im Schmerz. Deinen Grotten, Felsenhängen,
Vergiß mein nicht! Sein Liebesblick und Spiel und Sang, Deiner Kühlung mich zu freun.
Wirst du im Vollmondschein dich nach So süß und wonniglich, Merkenstein! Merkenstein!
mir sehnen, Sein Kuß, der tief zur Seele drang, Merkenstein! Merkenstein!
Wie Zephyrs Weh’n Erfreut nicht fürder mich. Dich erhellt mir Hesper’s Schein,
Wird dir’s melodisch durch die Lüfte Schaut meinen Fall, Duftend rings von Florens Kränzen
tönen: Ihr Schwestern all’, Seh’ ich die Gemächer glänzen,
Auf Wiederseh’n! Für die der Falsche glüht, Traulich blickt der Mond hinein.
Und trauet nicht dem, was er spricht. Merkenstein! Merkenstein!
Christian Ludwig Reissig O seht mich an, mich Arme an, Merkenstein! Merkenstein!
O seht mich an, und flieht! Höchster Anmut Lust‐Verein.
11. MIGNON OP.75/1 Ewig jung ist in Ruinen
Kennst du das Land, wo die Zitronen Gerhard Anton von Halem Mir Natur in dir erschienen;
blühn, Ihr, nur ihr mich stets zu weihn,
Im dunkeln Laub die Gold‐Orangen 13. DER MANN VON WORT OP.99 Denk’ ich dein, Merkenstein!
glühn, Du sagtest, Freund, an diesen Ort
Ein sanfter Wind vom blauen Himmel komm ich zurück, das war dein Wort. Johann Baptist Rupprecht
weht, Du kamest nicht; ist das ein Mann,
Die Myrte still und hoch der Lorbeer auf dessen Wort man trauen kann?
steht? Fast größer bild’ ich mir nichts ein,
Kennst du es wohl? als seines Wortes Mann zu sein; CD 79
Dahin! dahin wer Worte, gleich den Weibern, bricht, 1. “AN DIE FERNE GELIEBTE” OP.98
Möcht ich mit dir, o mein Geliebter, verdient des Mannes Namen nicht. Ein Liederkreis von Alois Jeitteles
ziehn. Ein Wort, ein Mann, war deutscher
Kennst du das Haus? Auf Säulen ruht Klang, 1.1 AUF DEM HÜGEL SITZ ICH
sein Dach. der von dem Mund zum Herzen drang, SPÄHEND OP.98 NO.2
Es glänzt der Saal, es schimmert das und das der Schlag von deutscher Auf dem Hügel sitz ich spähend
Gemach, Hand, In das blaue Nebelland,
Und Marmorbilder stehn und sehn gleich heil’gen Eiden, fest verband. Nach den fernen Triften sehend,
mich an: Und dieses Wort, das er dir gab, Wo ich dich, Geliebte, fand.
90

Weit bin ich von dir geschieden, Hin zu dir von jenen Hügeln Einst, o Wunder! entblüht auf meinem

Trennend liegen Berg und Tal Emsig dieses Bächlein eilt. Grabe
Zwischen uns und unserm Frieden, Wird ihr Bild sich in dir spiegeln, Ein Blume der Asche meines Herzens;
Unserm Glück und unsrer Qual. Fließ zurück dann unverweilt! Deutlich schimmert auf jedem
Ach, den Blick kannst du nicht sehen, Purpurblättchen: Adelaide!
Der zu dir so glühend eilt, 1.5 ES KEHRET DER MAIEN, ES BLÜHET
Und die Seufzer, sie verwehen DIE AU OP.98 NR.5 3. ZÄRTLICHE LIEBE WoO123
In dem Raume, der uns teilt. Es kehret der Maien, es blühet die Au, Ich liebe dich, so wie du mich,
Will denn nichts mehr zu dir dringen, Die Lüfte, sie wehen so milde, so lau, Am Abend und am Morgen,
Nichts der Liebe Bote sein? Geschwätzig die Bäche nun rinnen. Noch war kein Tag, wo du und ich
Singen will ich, Lieder singen, Die Schwalbe, die kehret zum Nicht teilten unsre Sorgen.
Die dir klagen meine Pein! wirtlichen Dach, Auch waren sie für dich und mich
Denn vor Liebesklang entweichet Sie baut sich so emsig ihr bräutlich Geteilt leicht zu ertragen;
Jeder Raum und jede Zeit, Gemach, Du tröstest im Kummer mich,
Und ein liebend Herz erreichet Die Liebe soll wohnen da drinnen. Ich weint in deine Klagen.
Was ein liebend Herz geweiht! Sie bringt sich geschäftig von kreuz Drum Gottes Segen über dir,
und von quer Du, meines Lebens Freude.
1.2 WO DIE BERGE SO BLAU OP.98 Manch weicheres Stück zu dem Gott schütze dich, erhalt dich mir,
NO.2 Brautbett hieher, Schütz und erhalt uns beide.
Wo die Berge so blau Manch wärmendes Stück für die
Aus dem nebligen Grau Kleinen. 4. DER KUß OP.128
Schauen herein, Nun wohnen die Gatten beisammen so Ich war bei Chloen ganz allein,
Wo die Sonne verglüht, treu, Und küssen wollt ich sie:
Wo die Wolke umzieht, Was Winter geschieden, verband nun Jedoch sie sprach,
Möchte ich sein! der Mai, Sie würde schrein,
Dort im ruhigen Tal Was liebet, das weiß er zu einen. Es sei vergebne Müh.
Schweigen Schmerzen und Qual. Es kehret der Maien, es blühet die Au. Ich wagt es doch und küßte sie,
Wo im Gestein Die Lüfte, sie wehen so milde, so lau. Trotz ihrer Gegenwehr.
Still die Primel dort sinnt, Nur ich kann nicht ziehen von hinnen. Und schrie sie nicht?
Weht so leise der Wind, Wenn alles, was liebet, der Frühling Jawohl, sie schrie,
Möchte ich sein! vereint, Doch lange hinterher.
Hin zum sinnigen Wald Nur unserer Liebe kein Frühling
Drängt mich Liebesgewalt, erscheint, 5. LIED AUS DER FERNE WoO137
Innere Pein. Und Tränen sind all ihr Gewinnen. Als mir noch die Träne der Sehnsucht
Ach, mich zög’s nicht von hier, nicht floß,
Könnt ich, Traute, bei dir 1.6 NIMM SIE HIN DENN, DIESE Und neidisch die Ferne nicht Liebchen
Ewiglich sein! LIEDER OP.98 NR.6 verschloß,
Nimm sie hin denn, diese Lieder, Wie glich da mein Leben dem
1.3 LEICHTE SEGLER IN DEN HÖHEN Die ich dir, Geliebte, sang, blühenden Kranz,
OP.98 NO.3 Singe die dann abends wieder Dem Nachtigallwäldchen, voll Spiel
Leichte Segler in den Höhen, Zu der Laute süßem Klang. und voll Tanz!
Und du, Bächlein klein und schmal, Wenn das Dämmrungsrot dann zieht Nun treibt mich oft Sehnsucht hinaus
Könnt mein Liebchen ihr erspähen, Nach dem stillen blauen See, auf die Höhn,
Grüßt sie mir viel tausendmal. Und sein letzter Strahl verglühet Den Wunsch meines Herzens wo
Seht ihr, Wolken, sie dann gehen Hinter jener Bergeshöh; lächeln zu seh’n!
Sinnend in dem stillen Tal, Und du singst, was ich gesungen, Hier sucht in der Gegend mein
Laßt mein Bild vor ihr entstehen Was mir aus der vollen Brust schmachtender Blick,
In dem luft’gen Himmelssaal. ohne Kunstgepräng erklungen, Doch kehret es nimmer befriedigt
Wird sie an den Büschen stehen, Nur der Sehnsucht sich bewußt: zurück.
Die nun herbstlich falb und kahl. Dann vor diesen Liedern weichet Wie klopft es im Busen, als wärst du
Klagt ihr, wie mir ist geschehen, Was geschieden uns so weit, mir nah,
Klagt ihr, Vöglein, meine Qual. Und ein liebend Herz erreichet O komm, meine Holde, dein Jüngling
Stille Weste, bringt im Wehen Was ein liebend Herz geweiht. ist da!
Hin zu meiner Herzenswahl Ich opfre dir alles, was Gott mir
Meine Seufzer, die vergehen 2. ADELAIDE OP.46 verlieh,
Wie der Sonne letzter Strahl. Einsam wandelt dein Freund im Denn wie ich dich liebe, so liebt’ ich
Flüstr’ ihr zu mein Liebesflehen, Frühlingsgarten, noch nie!
Laß sie, Bächlein klein und schmal, Mild vom lieblichen Zauberlicht O Teure, komm eilig zum bräutlichen
Treu in deinen Wogen sehen umflossen, Tanz!
Meine Tränen ohne Zahl! Das durch wankende Blütenzweige Ich pflege schon Rosen und Myrten
zittert, Adelaide! zum Kranz.
1.4 DIESE WOLKEN IN DEN HÖHEN In der spiegelnden Flut, im Schnee der Komm, zaubre mein Hüttchen zum
OP.98 NO.4 Alpen, Tempel der Ruh,
Diese Wolken in den Höhen, In des sinkenden Tages Goldgewölken, Zum Tempel der Wonne, die Göttin sei
Dieser Vöglein muntrer Zug, Im Gefilde der Sterne strahlt dein du!
Werden dich, o Huldin, sehen. Bildnis, Adelaide!
Nehmt mich mit im leichten Flug! Abendlüfte im zarten Laube flüstern,
Diese Weste werden spielen Silberglöckchen des Mais im Grase
Scherzend dir um Wang’ und Brust, säuseln,
In den seidnen Locken wühlen. Wellen rauschen und Nachtigallen
Teilt ich mit euch diese Lust! flöten: Adelaide!
91

6. DER JÜNGLING IN DER FREMDE Herr! Meine Burg, mein Fels, mein Mich täglich tun nach deinem

WoO137 Hort, Wohlgefallen;
Der Frühling entblühet dem Schoß der Vernimm mein Flehn, merk auf mein Du bist mein Gott, ich bin dein Knecht.
Natur, Wort; Herr, eile du, mein Schutz, mir
Mit lachenden Blumen bestreut er die Denn ich will vor dir beten! beizustehen,
Flur: Und leite mich auf ebner Bahn
Doch mir lacht vergebens das Thal und 10. DIE LIEBE DES NÄCHSTEN OP.48 Er hört mein Schrei’n, der Herr erhört
die Höh’, NR.2 mein Flehen
Es bleibt mir im Busen so bang’ und so So jemand spricht: Ich liebe Gott, Und nimmt sich meiner Seele an.
weh. Und haßt doch seine Brüder,
Begeisternder Frühling, du heilst nicht Der treibt mit Gottes Wahrheit Spott LIEDER NACH JOHANN WOLFGANG
den Schmerz! Und reißt sie ganz darnieder. VON GOETHE
Das Leben zerdrückte mein fröhliches Gott ist die Lieb, und will, daß ich 15. MAILIED OP.52 NO.4
Herz Den Nächsten liebe, gleich als mich. Wie herrlich leuchtet mir die Natur,
Ach, blüht wohl auf Erden für mich Wie glänzt die Sonne, wie lacht die
noch die Ruh’, 11. VOM TODE OP.48 NO.3 Flur!
So führ’ mich dem Schosse der Meine Lebenszeit verstreicht, Es dringen Blüten aus jedem Zweig
Himmlischen zu! Stündlich eil ich zu dem Grabe, Und tausend Stimmen aus dem
Ach Herz, dich erkennt ja der Jüngling Und was ist’s, das ich vielleicht, Gesträuch,
nicht mehr! Das ich noch zu leben habe? Und Freud und Wonne aus jeder Brust;
Wie bist du so traurig, was schmerzt Denk, o Mensch, an deinen Tod! O Erd’, o Sonne, o Glück, o Lust!
dich so sehr? Säume nicht, denn Eins ist Not! O Lieb’, o Liebe! So golden schön
Dich quälet die Sehnsucht, gesteh’ es Wie Morgenwolken auf jenen Höhn!
mir nur, 12. DIE EHRE GOTTES AUS DER NATUR Du segnest herrlich das frische Feld,
Dich fesselt das Mädchen der OP.48 NO.4 Im Blütendampfe die volle Welt.
heimischen Flur! Die Himmel rühmen des Ewigen Ehre; O Mädchen, Mädchen, wie lieb ich
Ihr Schall pflanzt seinen Namen fort. dich!
7. RESIGNATION WoO149 Ihn rühmt der Erdkreis, ihn preisen die Wie blickt dein Auge, wie liebst du
Lisch aus, mein Licht! Meere; mich!
Was dir gebricht, Vernimm, o Mensch, ihr göttlich Wort! So liebt die Lerche Gesang und Luft,
Das ist nun fort, Wer trägt der Himmel unzählbare Und Morgenblumen den Himmelsduft
an diesem Ort Sterne? Wie ich dich liebe mit warmen Blut,
Kannst du’s nicht wieder finden! Wer führt die Sonn aus ihrem Zelt? Die du mir Jugend und Freud und Mut
Du mußt nun los dich binden. Sie kommt und leuchtet und lacht uns Zu neuen Liedern und Tänzen gibst.
Sonst hast du lustig aufgebrannt, Von ferne Sei ewig glücklich, wie du mich liebst!
Nun hat man dir die Luft entwandt; Und läuft den Weg gleich als ein Held.
Wenn diese fort geweht, 16. MARMOTTE OP.52 NO.7
die Flamme irregehet, 13. GOTTES MACHT UND VORSEHUNG Ich komme schon durch manches
Sucht, findet nicht; OP.48 NO.5 Land,
lisch aus, mein Licht! Gott ist mein Lied! Avec que la marmotte,
Er ist der Gott der Stärke, Und immer was zu essen fand,
8. ANDENKEN WoO.136 Hehr ist sein Nam’ Avec que la marmotte,
Ich denke dein, Und groß sind seine Werke, Avec que sí, avecque là,
Wenn durch den Hain Und alle Himmel sein Gebiet. Avec que la marmotte.
Der Nachtigallen
Akkorde schallen! 14. BUßLIED OP.48 NO.6 17. NEUE LIEBE, NEUES LEBEN OP.75
Wann denkst du mein? An dir allein, an dir hab ich gesündigt, NO.2
Ich denke dein Und übel oft vor dir getan. Herz, mein Herz, was soll das geben?
Im Dämmerschein Du siehst die Schuld, die mir den Fluch Was bedränget dich so sehr?
Der Abendhelle verkündigt; Welch ein fremdes neues Leben!
Am Schattenquelle! Sieh, Gott, auch meinen Jammer an. Ich erkenne dich nicht mehr!
Wo denkst du mein? Dir ist mein Flehn, mein Seufzen nicht Weg ist alles, was du liebtest,
Ich denke dein verborgen, Weg, warum du dich betrübtest,
Mit süßer Pein Und meine Tränen sind vor dir. Weg dein Fleiß und deine Ruh’,
Mit bangem Sehnen Ach Gott, mein Gott, wie lange soll ich Ach, wie kannst du nur dazu!
Und heißen Tränen! sorgen? Fesselt dich die Jugendblüte,
Wie denkst du mein? Wie lang entfernst du dich von mir? Diese liebliche Gestalt,
O denke mein, Herr, handle nicht mit mir nach Dieser Blick voll Treu und Güte
Bis zum Verein meinen Sünden, Mit unendlicher Gewalt?
Auf besserm Sterne! Vergilt mir nicht nach meiner Schuld. Will ich rasch mich ihr entziehen,
In jeder Ferne Ich suche dich, laß mich dein Antlitz Mich ermannen, ihr entfliehen,
Denk ich nur dein! finden, Führet mich im Augenblick
Du Gott der Langmut und Geduld. Ach, mein Weg zu ihr zurück.
Früh wollst du mich mit deiner Gnade Und an diesem Zauberfädchen,
SECHS LIEDER CHRISTIAN VON füllen, Das sich nicht zerreissen läßt,
FÜRCHTEGOTT GELLERT OP.48 Gott, Vater der Barmherzigeit. Hält das liebe, lose Mädchen
9. BITTEN OP.48 NO.1 Erfreue dich um deines Namens willen, Mich so wider Willen fest,
Gott, deine Güte reicht so weit, Du bist mein Gott, der gern erfreut. Muß in ihrem Zauberkreise
So weit die Wolken gehen, Laß deinen Weg mich wieder freudig Leben nun auf ihre Weise.
Du krönst uns mit Barmherzigkeit wallen Die Verändrung, ach wie groß!
Und eilst, uns beizustehen. Und lehre mich dein heilig Recht Liebe, Liebe, laß mich los!
92

18.WONNE DER WEHMUT OP.83 NO.1 21. FREUDVOLL UND LEIDVOLL OP.84 9. GLAUBE UND HOFFE, WOO 174

Trocknet nicht, trocknet nicht, NO.2 Canonlike movement a 4
Tränen der ewigen Liebe! Freudvoll Und leidvoll, Glaube und hoffe!
Ach, nur dem halbgetrockneten Auge Gedankenvoll sein;
Wie öde, wie tot die Welt ihm [Langen] Und bangen 10. AUF EINEN, WELCHER HOFFMANN
erscheint! In schwebender Pein; GEHEISSEN, WoO180
Trocknet nicht, trocknet nicht, Himmelhoch jauchzend Canon a 2
Tränen unglücklicher Liebe! Zum Tode betrübt; Hoffmann, sei ja kein Hofmann, nein
Glücklich allein ich heiße
19. SEHNSUCHT OP.83 NR.2 Ist die Seele, die liebt. Hoffmann und bin kein Hofmann.
Was zieht mir das Herz so?
Was zieht mich hinaus? 11. ANGLAISE IN D MAJOR FOR
Und windet und schraubt mich PIANO, HESS
Aus Zimmer und Haus? CD80 12. RASCH TRITT DER TOD DEN
Wie dort sich die Wolken CANONS, EPIGRAMS AND JOKES MENSCHEN AN, WoO 104
Am Felsen verziehn! 1. LOB AUF DEN DICKEN Gesang der Mönche from Schiller’s
Da möcht ich hinüber, “SCHUPPANZIGH IST EIN LUMP”, “Wilhelm Tell”
Da möcht ich wohl hin! WoO100 Rasch tritt der Tod den Menschen an,
Nun wiegt sich der Raben Musical joke for 3 solo voices & choir es ist ihm keine Frist gegeben,
Geselliger Flug; Schuppanzigh ist ein Lump – es stürzt ihn mitten in der Bahn,
Ich mische mich drunter Wer kennt ihn, wer kennt ihn nicht, es reißt ihn fort vom vollen Leben,
Und folge dem Zug. den dicken Saumagen, dan bereitet oder nicht, zu gehen.
Und Berg und Gemäuer aufgeblasenen Eselskopf, Er muß vor seinem Richter stehen.
Umfittigen wir; O Lump Schuppanzigh, o Esel
Sie weilet da drunten, Schuppanzigh – 13. ICH WAR HIER, DOKTOR, ICH WAR
Ich spähe nach ihr. Wir stimmen alle ein: HIER, WoO190
Da kommt sie und wandelt; Du bist der größte Esel, o Esel, hi, hi,ha Riddle canon a 2
Ich eile sobald, Ich war hier, Doktor, ich war hier.
Ein singender Vogel, 2. ESEL ALLER ESEL, HI HA, HESS 277
Im buschigen Wald. Musical joke 14. SIGNOR ABATE, WoO178
Sie weilet und horchet Esel aller Esel! – hi ha. Canon a 3
Und lächelt mit sich: Signor Abate! io sono ammalato.
“Er singet so lieblich 3. GRAF, LIEBSTER GRAF, LIEBSTES Santo Padre! vieni e datemi la
Und singt es an mich.” SCHAF, WoO101 benedizione!
Die scheidende Sonne Musical joke Hol’ Sie der Teufel, wenn Sie nicht
Vergüldet die Höh’n; Graf, Graf, liebster Graf, kommen!
Die sinnende Schöne, liebstes Schaf, bester Graf
Sie läßt es geschehn. bestes Schaf. 15. KURZ IST DER SCHMERZ, UND
Sie wandelt am Bache EWIG IST DIE FREUDE WoO163
Die Wiesen entlang, 4. HERR GRAF, ICH KOMME ZU Canon a 3
Und finster und finstrer FRAGEN, HESS 276 Kurz ist der Schmerz, ewig ist die
Umschlingt sich der Gang; Canon a 3 Freude.
Auf einmal erschein ich, Herr Graf, ich komme zu fragen, wie
Ein blinkender Stern. Sie sich 16. HOL’ EUCH DER TEUFEL! B’HÜT
“Was glänzet da droben, befinden, ob Sie recht gut geschlafen EUCH GOTT! WoO173
So nah und so fern?” und angenehm Riddle canon a 2
Und hast du mit Staunen geträumt oder ob Ihnen nichts Hol’ euch der Teufel! B’hüt euch Gott!
Das Leuchten erblickt, betrübliches passiert ist.
Ich lieg dir zu Füßen, 17. GOTT IST EINE FESTE BURG,
Da bin ich beglückt! 5. BESTER HERR GRAF, SIE SIND EIN WoO188
SCHAF, WoO183 Riddle canon a 2
20. MIT EINEM GEMALTEN BAND Canon a 4 Gott ist eine feste Burg.
OP.83 NO.3 Bester Herr Graf, Sie sind ein Schaf.
Kleine Blumen, kleine Blätter 18. SANKT PETRUS WAR EIN
Streuen mir mit leichter Hand 6. ES MUSS SEIN, WoO196 FELS/BERNARDUS WAR EIN SANKT,
Gute, junge Frühlings‐Götter Joke or riddle canon a 4 WoO175
Tändelnd auf ein luftig Band. Es muss sein, ja, heraus mit dem Riddle canon a 4
Zephir, nimm’s auf deine Flügel, Beutel! Sankt Petrus war ein Fels, Bernardus
Schling’s um meiner Liebsten Kleid; war ein Sankt?
Und so tritt sie vor den Spiegel 7. CANON FOR 2 INSTRUMENTS IN G
All in ihrer Munterkeit. MAJOR HESS 274 19. TUGEND IST KEIN LEERER NAME,
Sieht mit Rosen sich umgeben, WoO181 NO.3
Selbst wie eine Rose jung. 8. DA IST DAS WERK, SORGT UM DAS Canon a 3
Einen Blick, geliebtes Leben! GELD! WoO197 Tugend ist kein leerer Name
Und ich bin belohnt genug. Canon a 5
Fühle, was dies Herz empfindet, Da ist das Werk, sorgt um das Geld, 20. EDEL SEI DER MENSCH, HÜLFREICH
Reiche frei mir deine Hand, eins, zwei, drei, vier, fünf, sechs, UND GUT, WoO185
Und das Band, das uns verbindet, sieben, acht, neun, Canon a 6
Sei kein schwaches Rosenband! zehn, elf, zwölf Dukaten. Edel sei der Mensch, hülfreich und gut.

93

21. BESTER MAGISTRAT, IHR FRIERT, 35. ICH KÜSSE SIE, WoO169 49. ABSCHIEDSGESANG WoO102

WoO177 Riddle canon a 2 Gedicht von Joseph von Seyfried
Canon for 2 male voices and 2 double Ich küsse Sie, drücke Sie an mein Herz! Die Stunde schlägt, wir müssen
basses Ich, der Hauptmann. scheiden,
Bester Magistrat, Ihr friert! bald sucht vergebens dich mein Blick;
36. LANGUISCO E MORO, HESS 229 am Busen ländlich stiller Freuden
22. KÜHL, NICHT LAU, WoO191 Canon a 2 erringst du dir ein neues Glück.
Canon a 3 Languisco e moro per te mio ben Geliebter Freund! Du bleibst uns teuer,
Kühl, nicht lau. ch’adoro. ging auch die Reise nach dem Belt;
doch ist zum guten Glück Stadt Steyer
23.WIR IRREN ALLESAMT, WoO198 37. TE SOLO ADORO, WoO186 noch nicht am Ende dieser Welt.
Riddle canon a 2 Canon a 2 Und kommen die Freunde, um dich zu
Wir irren allesamt, nur jeder irret Te solo adoro mente infinita, besuchen,
anders. fonte di vita di verità. so sei nur hübsch freundlich und back
24. AUF EINEN, WELCHER SCHWENKE 38. EWIG DEIN, W0O161 ihnen Kuchen,
GEHEISSEN, WoO187 Canon a 3 auch werden, so wie sich’s für
Canon a 4 Ewig dein. Deutsche gehört,
Schwenke dich, ohne Schwänke! auf ’s Wohlsein der Gäste die Humpen
39. FREUNDSCHAFT IST DER QUELL geleert.
25. BRAUCHLE, LINKE, WoO167 WAHRER GLÜCKSELIGKEIT, WoO164 Dann bringen wir froh im gezuckerten
Canon a 4 Canon a 3 Weine ein Gläschen dem ewigen
Brauchle, Linke Freundschaft ist die Quelle wahrer Freundschaftsvereine;
Glückseligkeit dein Töchterlein mache den Ganymed,
26. O TOBIAS!, WoO182 ich weiß, daß sie gerne dazu sich
Canon a 3 40. INSTRUMENTAL CANON A 4, versteht.
O Tobias! Dominus Haslinger o! o! WoO160 NO.2 Geliebter Bruder! Lebe wohl.

27. GEDENKET HEUTE AN BADEN, 41. TA TA TA, LIEBER MÄLZEL,
WoO181 NO.1 WoO162 25 IRISH SONGS WoO152, SELECTION
Canon a 4 Canon a 4 50. NO.2 SWEET POWER OF SONG!
Gedenket heute an Baden! Ta ta ta, lieber Mälzel Sweet power of Song! That canst
ta ta ta, lebet wohl, sehr wohl impart,
28. SEINER KAISERLICHEN ta ta ta, Banner der Zeit To lowland swain or mountaineers,
HOHEIT…ALLES GUTE, ALLES SCHÖNE, ta ta ta, großer Metronom. A gladness thrilling trough the heart,
WoO179 ta ta ta ta ta. A joy so tender and so dear:
Introduction and canon a 4 Sweet Power! That on a foreign strand
Seiner kaiserlichen Hoheit! 42. ICH BITT’ DICH, SCHREIB’ MIR DIE Canst the rough soldier’s bosom move,
Dem Erzherzog Rudolph! ES‐SCALA AUF, WoO172 With feelings of his native land,
Dem geistlichen Fürsten! Canon a 3 As gentle as infant’s love.
Alles Gute! Alles Schöne! Ich bitt’ dich, schreib’ mir die Es‐Scala Sweet Power! That makes youthful
auf. heads
29. GLÜCK FEHL’ DIR VOR ALLEM, With thistle, leek, or shamrock
WoO171 43. ARS LONGA, VITA BREVIS, crown’d,
Canon a 4 WoO192 Nod proudly as the carol sheds
Glück fehl’ dir vor allem, Gesundheit Riddle canon Its spirit through the social round.
auch ‐ niemalen! Ars longa, vita brevis Sweet Power! That cheer’s the daily
toil
30. GEHABT EUCH WOHL, WoO181 44. INSTRUMENTAL CANON A 3, Of cottage maid, or beldame poor,
NO.2 WoO160 NO.1 The ploughman on the furrow’d soil,
Canon a 4 Or herdboy on the lonely moor.
Gehabt euch wohl. 45. DAS SCHWEIGEN, WoO168 NO.1 Or he, by bards the shepherd hight,
Riddle canon a 3 Who mourns his maiden’s broken tye,
31. FREU’ DICH DES LEBENS, WoO195 Lerne schweigen, o Freund, dem ’Till the sweet plaint, in woe’s despite,
Canon a 2 Reden gleichet das Silber, Hath made a bliss of agony.
Freu’ dich des Lebens. aber zu rechter Zeit schweigen, Sweet power of Song! Thanks flow to
Schweigen ist lauteres Gold. thee
32. GLÜCK ZUM NEUEN JAHR, From every kind and gentle breast!
WoO165 46. DAS REDEN, WoO168 NO.2 Let Erin’s Cambria’s minstrels be
Canon a 4 Canon a 3 With Burn’s tuneful spirit blest!
Glück, Glück zum neuen Jahr Rede, rede, wenn’s um einen Freund
Joanna Baillie
dir gilt.
33. INSTRUMENTAL CANON A 2 IN A
Rede, rede, einer Schönen Schönes zu
FLAT MAJOR, HESS 275 51. NO.5 ON THE MASSACRE OF
sagen.
GLENCOE

34. IM ARM DER LIEBE RUHT SICH’S Oh! Tell me, Harper, wherefore flow
47. FALSTAFFERL, WOO 184
WOHL, WoO159 Thy wayward notes of wail and woe
Canon a 5
Canon a 3 Far down the desert of Glencoe,
Falstafferl, Falstaff, laß dich sehen.
Im Arm der Liebe ruht sich’s wohl. Where non may list their melody?

Wo es auch sei, das ist dem Müden Say, harp’st thou to the mist that fly,
48. ALLEGRO IN A MAJOR FOR 2
einerlei. Or to the dun deer glancing by,
VIOLINS, WoO34
Im Schoß der Erde ruht sich’s wohl! Or to the eagle, that from hig

94

Screams chorus to thy minstrelsy? The beldame tell her tale: Had it e’er kiss’d the rose on the cheek

No, not to these, for they have rest, And let the sightless harper sit of my dear,
The mist‐wreath has the mountain The blazing faggot by; What ransom to buy thee could ever
crest, And let the jester vent his wit, be found?
The stag his lair, the erne her nest, His tricks the urchin try. Or what force from my heart thy
Abode of lone security. Who shakes the door with angry din; possession could tear?
But those for whom I pour the lay, And would admitted be? A mourner, a suff ’rer, a wand’rer, a
Not wild wood deep, nor mountain No, Gossip Winter, snug within, stranger,
grey, We have no room for thee. In sickness, in sadness, in pain, or in
Not this deep dell that shrouds from Go, scud it o’er Killarney’s lake, danger,
day And shake the willows bare; Next that heart would I wear thee till
Could screen from treach’rous cruelty. The water‐elf his sport doth take, its last pang was o’er,
The hand that mingled in the meal, Thou’lt find a comrade there. Then togheter we’d sink, and I’d part
At midnight drew the felon steel, Will o’ the Wisp skips in the dell, thee no more. John Philpot Curran
And gave the host’s kind breast to feel, The owl hoots on the tree, 56. NO.13 MUSING ON THE ROARING
Meed for his hospitality. They hold their nightly vigil well, OCEAN
The friendly heart which warm’d that And so the while will we. Musing on the roaring ocean
hand, Then strike we up the rousing glee, Which divides my love and me;
At midnight arm’d it with a brand And pass the beaker round, Wearying Heaven in warm devotion,
That bade destruction’s flames expand While ev’ry head right merrily For his weal where’er he be;
Their red and fearful blazonry. Is moving to the sound. Hope and fear’s alternate billow
Long have my harp’s best notes been Yielding late to nature’s law;
gone, Joanna Baillie Whispering spirits round my pillow
Few are its strings, and faint their Talk of him that ‘s far awa.
tone, 54. NO.10 THE DESERTER Ye whom sorrow never wounded,
They can but sound in desert lone If sadly thinking and spirits sinking Ye who never shed a tear,
Their grey‐hair’d master’s misery. Could more than drinking my cares Care‐untroubled, joy‐surrounded,
Were each grey hair a minstrel string, compose; Gaudy day to you is dear.
Each chord should imprecations fling, A cure for sorrow from sighs I’d Gentle night, do thou befriend me;
’Till startled Scotland loud should ring, borrow, Downy sleep, the curtain draw;
“Revenge for blood and treachery!” And hope tomorrow might end my Spirits kind, again attend me,
woes. Talk of him that ‘s far away!
52. NO.6 WHAT SHALL I DO TO SHEW But since in wailing there’s nought
HOW MUCH I LOVE HER? availing, Robert Burns (1759‐1796)
What shall I do to shew how much I And Fate unfailing must strike the
love her? blow: 57. NO.15 LET BRAIN‐SPINNING
Thoughts that oppress me, O how can I Then for that reason and for a season, SWAINS
tell? We will be merry before we go. Let brain‐spinning swains, in effusions
Will my soft passion be able to move A wayworn ranger to joy a stranger, fantastic,
her? Through every danger my course I’ve Sing meetings by moonlight in arbour
Language is wanting, when loving so run; or grove;
well. Now hope all ending, and death But Patrick O’Donnelly’s taste is more
Can sighs and tears, in the silence, befriending, plastic,
betoken His last aid sending, my cares are All times and all seasons are fitted for
Half the distress this fond bosom must done, love:
know? No more a rover, or hapless lover, At Cork or Killarny, Killala or Blarney,
Or will she melt when a true heart is My griefs are over, and my glass runs At fair, wake, or wedding, my passion
broken, low. must glow:
Weeping, too late, o’er her lost lover’s Then for that reason and for a season, Fair maid, will you but trust to me,
woe. We will be merry before we go. Fondly I’ll love you wherever I go.
When driving the cows of old father
Is there a grace comes not playful
John Philpot Curran O’Leary,
before her?
An angel, yourself, I had still in my eye;
Is there a virtue, and not in her train?
55. NO.11 THOU EMBLEM OF FAITH When digging potatoes, mud‐spatter’d
Is there a swain but delights to adore
Thou emblem of faith, thou sweet and weary.
her?
pledge of a passion, O what did I think on, but you, with a
Pains she a heart, but it boasts of her
That heav’n has ordain’d for an sigh!
chain?
happier than me; At plough, or haymaking, I’m in an odd
Could I believe she’d prevent my
On the hand of the fair go resume thy tucking,
undoing,
lov’d station My bosom heaves high, though my
Life’s gayest fancies the hope should
And bask in the beam that is lavish’d spirits be low:
renew;
on thee. Fair maid, will you but trust to me,
Or could I think she’d be pleas’d with
Amd when some past scene thy Fondly I’ll love you wherever I go.
my ruin,
remembrance recalling, When first I ’spied your sweet face, I
Death should persuade her my
Her bosom shall rise to the tear that is remember,
sorrows are true!
falling, That hot summer day, how I shiver’d

With the transport of love may no for shame!
53. NO.8 COME DRAW WE ROUND A
anguish combine, You smil’d when I met you again in
CHEERFUL RING
But the bliss be all hers, and the suff December,
Come draw we round a cheerful ring
’ring all mine. And then, by the Pow’rs, I was all in a
And broach the foaming ale,
But ah! Had the ringlet thou lov’st to flame!
And let the merry maiden sing,
surround,
95

Come summer, come winter, in you Ev’ning for lover’s soft measures, While O’Donnel is poor shall

my thoughts center, Sighing and begging a boon; Mackenna have gold,
I doat on you, Judy, from top to he toe: But the blithe season for pleasures, Or be cloth’d, while a limb of O’Donnel
Fair maid, will you but trust to me Laughing lies under the moon. is bare?
Fondly I’ll love you wherever I go. While sickness and hunger the sinews
REFRAIN: assail,
Sir Alexander Boswell Och! Then you rogue Pat O’ Shall Mackenna, unmov’d, quaff his
Flannaghan, madder of mead;
58. NO.17 IN VAIN TO THIS DESERT Kegs of the whiskey we’ll tilt, On the haunch of a deer shall
MY FATE I DEPLORE Murtoch, replenish our can again, Mackenna regale,
In vain to this desert my fate I deplore, Up with your heart cheering lilt! While a chief of Tyrconnell is fainting
For dark is the wildwood, and bleak is
for bread?
the shore; Myrtles and vines some may prate
No, enter my dwelling, my feast thou
The rude blasts I hear, and the white about,
shalt share,
waves I see, Bawling in heathenish glee,
On my pillow of rushes thy head shall
But nought that gives shelter or Stuff I won’t bother my pate about,
recline:
confort to me. Shamrock and whiskey for me!
And bold is the heart and the hand
O love! Thou hast pleasures, and deep Faith, but I own I feel tender;
that will dare
have I lov’d, Judy, you jill, how I burn!
To harm but one hair of a ringlet of
I love! Thou hast sorrows, and sore If she won’t smile, devil mend her!
thine.
Have I prov’d: Both sides of chops have their turn.
Then come to my home, ’tis the house
But this bruised heart that now bleeds of a friend,
REFRAIN
in my breast, In the green woods of Traugh thou art
I can feel, by its throbbing, will soon be Fill all your cups till they foam again, safe from thy foes;
at rest. Bubbles must float on the brim; Six sons of Mackenna thy steps shall
When clos’d are those eyes, that but He that steals first sneaking home attend,
open to weep, again, And their six sheathless skeans shall
With my woes and my wrongs I shall Daylight is too good for him! protect thy repose.
peacefully sleep; While we have goblets to handle,
But the thorn rhy inkindness first While we have liquor to fill,
plac’d in my heart, Mirth, and one spare inch of candle, 20 IRISH SONGS WoO153, SELECTION
Transplanted to thine, shall new Planets may wink as they will. 64. NO.1 WHEN EVE’S LAST RAYS
anguish impart. When eve’s last rays in twilight die
REFRAIN And stars are seen along the sky,
Anne Grant
On Liffy’s banks I stray;
Note: the second verse is by Burns Sir Alexander Boswell
And there with fond I regret I gaze,

Where oft I’ve pass’d the fleeting days
60. NO.20 FAREWELL BLISS AND 62. NO.23 THE WAND’RING GYPSY
With her that’s far away.
FAREWELL NANCY Ach! mir schallt’s dorten so lieblich
When she would sing some lovely
Farewell bliss and farewell Nancy, hervor:
strain,
Farewell fleeting joys of fancy; Fürchte Gott, fürchte Gott!
How sweet the echoes gave again
Hopes and fears and sights that Ruft mir die Wachtel ins Ohr.
In fainter notes the lay;
languish Sitzend im Grünen, von Halmen
Tho’mute the echoes of the grove,
Now give place to cureless anguish. umhüllt,
In fancy still I hear my love.
Why did I so fondly love thee? Mahnt sie dem Horcher am
Though now she’s far away.
Why to wearing sorrow bring thee? Saatengefild:
Her from the stream reflected clear,
Why let causeless slander sting thee? Liebe Gott, liebe Gott!
And still it seem’d, when she was near,
Gazing on my precious treasure, Er ist so gütig, so mild.
To move with fond delay;
Lost in reckless dreams of pleasure, Wieder bedeutet ihr hüpfender Schlag:
But though its wave no trace retains,
Thy unspotted heart possessing, Lobe Gott, lobe Gott!
Her image in my heart remains,
Grasping at the promis’d blessing, Der dich zu loben vermag.
Tho’ now she’s far away.
Pouring out my soul before thee, Siehst du die herrlichen Früchte im
Living only to adore thee, Feld? David Thomson
Could I see the tempest brewing? Nimm es zu Herzen, Bewohner der
Could I dread the blast of ruin? Welt: 65. NO.4 SINCE GREYBEARDS INFORM
Had we never lov’d so kindly; Danke Gott, danke Gott! US THAT YOUTH WILL DECAY
Had we never lov’d so blindly, Der dich ernährt und erhält. Since greybeards inform us that youth
Never met, or never parted, Schreckt dich im Wetter der Herz der will decay,
We had ne’er been broken hearted. Natur: And pleasure’s soft transports glide
Fare thee well, thou first and fairest, Bitte Gott, bitte Gott! swiftly away:
Fare thee well, thou best and dearest; Ruft sie, er schonet die Flur. The song, and the dance, and the vine,
One fond kiss, and then we sever, Machen Gefahren der Krieger dir bang: and the fair,
One farewell, alas! For ever. Traue Gott, traue Gott! Shall banish all sorrow and shield us
Sieh’, er verziehet nicht lang. from care.
Anne Grant
Away with your proverbs, your morals,
Samuel Friedrich Sauter
and rules,
61. NO.21 MORNING A CRUEL
Your proctors, and doctors, and
TURMOILER IS 63. NO.24 THE TRAUGH WELCOME
pedants, and schools:
Morning a cruel turmoiler is, Shall a son of O’Donnel be cheerless
Let’s seize the bright moments while
Banishing ease and repose; and cold,
yet in our prime,
Noonday a roaster and broiler is While Mackenna’s wide heart has a
How we pant under ’is nose! faggot to spare;
96

And fast by the forelock catch old 68. NO.8 NORAH, THE WITCH OF Read we then your story

father Time. Balamagairy Here on the lonely plain.
Tho’ spring’s lovely blossoms delight Farewell mirth and hilarity, Some fond maid is sighing
us no more, Love has my heart in cruel subjection; For the hero lying
Tho’ summer forsake us, and autumn Ah me! Norah in charity Here on the lonely plain.
be o’er; Spare a fond soul one throb of Never, hapless soldier,
To cheer us in winter, remembrance affection. Fated to behold her,
can bring Why, as I pass’d, did I gaze on her Left unseen to moulder
The pleasures of autumn, and summer, casement, On this lonely plain.
and spring: Alas! With one look all my courage she No fond tears fall o’er thee,
So when fleeting seasons bring life’s shook! No fond hearts deplore thee,
latest stage, But while I linger’d in moonstruck Here on the lonely plain.
To speak of youth’s frolic shall gladden amazement,
our age: Not a smile all the while cheers William Smyth (1765‐1849)
Then seize the bright moments while recollection.
yet in our prime, 70. NO.15 ‘TIS BUT IN VAIN, FOR
And fast by the forelock catch old REFRAIN: NOTHING THRIVES
father Time. Love, love, wins us by treachery, ‘Tis but in vain, for nothing thrives,
Yet leaves no choice but humble Where Dermot has to do,
T. Toms submission; Ill‐fortune seems, howe’er he strives,
What spell can conquer this witchery, His footsteps to pursue!
66. NO.5. I DREAM’D I LAY WHERE Woman our bane’s the only physician. But one by one, when friends are
FLOW’RS WERE SPRINGING gone,
I dream’d I lay where flow’rs were Far, far hence tho’ I fly from her, Must I forsake him too.
springing, Where other shores are kiss’d by the O poverty! Full sure thou art
Gaily in the sunny beam; ocean, A foe the most unkind;
I listen’d to the wild birds singing, Blest powers! Draw but one sigh from And weary, weary is the heart
By a falling crystal stream. her, That feels thee still behind.
At once the sky grew black and daring, Let her not live thus dead to emotion. But one by one, when friends are
While through the woods the Yet I must steal one last glance ere I gone,
whirlwinds rave, leave her, Must I forsake him too.
The trees with aged arms were Perhaps in her heart she may grieve Next month he sails to find a home
warring, when we part; Beyond the western tide;
Across the swelling drumlie wave. Hope, ah I dread thee, deluding And heav’n knows where he means to
Such was my life’s deceitful morning, deceiver, roam,
Such the pleasures I enjoy’d; Fair thy cup turn’d up, bitter the His houseless head to hide.
But long ere noon loud tempest potion. But one by one, when friends are

storming, gone,
REFRAIN
All my flow’ry bliss destroy’d. Must I forsake him too.
Though fickle fortune has deceiv’d me, Ah me! Had we the agency Oh! Breathe it not thou passing wind,
Promised fair, and perform’d but ill, Of a kindhearted feat little fairy, I tell it thee alone,
Of many a joy and hope bereav’d me, Good bye then to the regency, My Dermot is not always, kind ‐
I bear a heart shall support me still. Norah, the witch of Balamagairy! He breaks my heart, I own,
But one by one, when friends are
Looks she, or speaks she, the lads are
Robert Burns (1759‐1796) gone,
all sighing,
Must I forsake him too.
She scatters her spells, and then ev’ry
67. NO.7 O SOOTHE ME, MY LYRE
heart swells;
O soothe me, my lyre, with thy tones William Smyth (1765‐1849)
Not a young clown but is pining and
of soft sorrow,
dying,
O soothe thy sad mistress that sinks in 71. NO.17 COME, DARBY DEAR!
Ah! The fools, thus she rules
decay, Come, Darby dear! Easy, be easy,
Balamagairy.
Fainter today, to be fainter tomorrow,
So be sure, and it may not well please
I fade like the flow’r and am passing REFRAIN ye;
away. But she’s gone, as I said,
Pale is my cheek, ‐ it was fair as they Sir Alexander Boswell With young Pat to be wed,
told me ‐ And in vain will we fret,
Who in the dance that but lately had 69. NO.10 OH! THOU HAPLESS ‘Till we’re crazy.
been, SOLDIER And troth! He’s proper fine creature,
Who that had seen me, and now Oh! Thou hapless soldier, Of mighty good figure and feature,
should behold me, Left unseen to moulder And our daughter Kitty,
Would think me the Ellen that there he Here on the lonely plain. Why she’s young and pretty ‐
had seen? Far thy comrades flying, O Darby dear! Is not nature?
Dear was the world ‐ I had youth, I had Lost, abandon’d, dying They’re tied before this, never fear
beauty, Here on the lonely plain. them,
But ‘tis not for life that I heave this sad Faint ‐ and none to cheer thee, So love and good luck ever cheer
sigh Moaning ‐ none to hear thee, them,
‐ Firm is my soul in its hope and its Dying ‐ and none near thee And faith in a crack
duty, ‐ On this lonely plain. They’ll be all coming back ‐
But oh! To be lov’d ‐ then untimely to No fond tears fall o’er thee, By the virgin! ‐ The Piper!
die. No fond hearts deplore thee, I hear them.
Here on the lonely plain. And it was, and it is always thus now,
William Smyth (1765‐1849) Power! Ambition! Glory! So no longer be making a fuss now:
97

Cross words and uncivil was on fire That worldly dame is on the watch

Och, pitch to the devil! At the rush of their verse, and the To frown upon our meeting.
And give your old woman a buss now. sweep of their lyre: Fly! Why should I mind her,
To me ‘twas not legend, nor tale to the See, who stands behind her,
William Smyth (1765‐1849) ear, Whose eye doth on her trav’ller look
But a vision of noontide, distinguish’d The sweeter and the kinder.
72. NO.20 THY SHIP MUST SAIL, MY and clear.
HENRY DEAR Ultonia’s old heroes awoke at the call; Joanna Baillie
Thy ship must sail, my Henry dear, And renew’d the wild pomp of the
Fast comes the day, too soon, too chace and the hall; 4. NO.7 HIS BOAT COMES ON THE
sure; And the standard of Fion flash’d fierce SUNNY TIDE
And I, for one long tedious year, from on high, His boat comes on the sunny tide,
Must learn thy absence to endure. Like a burst of the sun when the And brightly gleams the flashing oar;
Come let me by my pencil’s aid tempest is nigh. The boatmen carol by his side,
Arrest thy image ere it flies; It seem’d that the harp of green Erin And blithely near the welcome shore,
And like the fond Corinthian maid, once more How softly Shannon’s currents flow!
Thus win from Art what Fate denies. Could renew all the glories she His shadow in the stream I see;
And I will hang with fondness warm boasted of yore. The very waters seem to know
O’er all that there I pictur’d see; Yet why at remembrance, fond heart, Dear is the freight they bear to me.
To others but a mimic form, ‐ shouldst thou burn? His eager bound, his hasty tread,
But oh! My life, my love to me. They were days of delusion, and can His well‐known voice I’ll shortly hear;
Or let me sing the song so dear, not return. And oh, those arms so kindly spread!
The song that told thy bosom’s fire, That greetings smile! That manly tear!
When first, our favorite willows near, Sir Walter Scott In other lands, when far away,
I bade thee wake thy ready lyre. My love with hope did never twain;
Yes, o’er and o’er, I’ll sing and play 2. NO.3 ONCE MORE I HAIL THEE It saw him thus, both night and day,
The song beneath those willow trees, Once more I hail thee, thou gloomy To Shannon’s banks return’d again.
When thou, alas! Art far away, December!
And nought but thoughts of thee can Thy visage so dark, and thy tempest’s Joanna Baillie
please. dread roar;
Dear sister Arts! Of power divine, Sad was the parting thou mak’st me 5. NO. 9. THE SOLDIER’S DREAM
To soothe the heart when cheerless remember, Our bugles sung truce, for the
found, My parting with Nancy, ah! Ne’er to nightcloud had low’r’d,
And near, with moonlight gleam to meet more! And the centinel stars set their watch
shine, Fond lovers parting is sweet painful in the sky,
When all the world is darkness round. pleasure, And thousands had sunk on the
When hope mildly beams on the soft ground, overpow’r’d,
William Smyth (1765‐1849) parting hour; The weary to sleep, and the wounded
But the dire feeling, “O farewell for to die.
ever”, When reposing that night om my pallet
Is anguish unmingled and agony pure. of straw,
CD81 Wild as the winter now tearing the By the wolfscaring faggot that guarded
25 IRISH SONGS WoO152, SELECTION forest, the slain,
for one to two solo voices, violin, Until the last leaf of the summer is At the dead of the night a sweet vision
violoncello and piano flown, I saw,
Such is the tempest has shaken my And thrice ere the morning I dreamt it
1. NO.1 THE RETURN TO ULSTER bosom, again.
Once again, but how chang’d since my Since hope is departed and comfort is Methought from the battlefield’s
wanderings began gone. dreadful array,
I have heard the deep voice of the Far, far I had roam’d on a desolate
Lagan and Bann, Robert Burns (1759‐1796) track;
And the pines of Clanbrasil resound to ’Twas autumn, and sunshine arose on
the roar 3. NO. 4 THE MORNING AIR PLAYS ON the way
That wearies the echoes of fair MY FACE To the home of my fathers, that
Tullamore. The morning air plays on my face, welcom’d me back.
Alas! My poor bosom, and why And through the grey mist peering, I flew to the pleasant fields travers’d
shouldst thou burn! The soften’d silv’ry sun I trace, so oft
With the scenes of my youth can its Wood wild, and mountain cheering. In life’s morning march, when my
raptures return? Larks aloft are singing, bosom was young;
Can I live the dear life of delusion Hares from covert springing, I heard my own mountain goats
again, And o’er the fen the wild duck’s brood bleating aloft,
That flow’d when these echoes first Their early way are winging. And knew the sweet strain the
mix’d with my strain? Bright ev’ry dewy hawthorn shines, cornreapers sung.
It was then that around me, though Sweet ev’ry herb is growing, Then pledg’d we the wine‐cup, and
poor and unknown, To him whose willing heart inclines fondly I swore.
High spells of mysterious enchantment The way that he is going. From my home and my weeping
were thrown; Fancy shews to me, now, friends never to part;
The streams were of silver, of diamond What will shortly be now, My little ones kiss’d me a thousand
the dew, I’m patting at her door, poor Tray, times o’er,
The land was an Eden, for fancy was Who fawns and welcomes me now. And my wife sobb’d aloud in her
new. How slowly moves the rising latch! fullness of heart.
I had heard of our bards, and my soul How quick my heart is beating. Stay, stay with us, rest, thou art weary
98

and worn; Tell this tale, my dear honey, and But thy Mary will cheer.

And fain was their warbroken soldier stoutly protest, Come to my arms,
to stay; That of all the bullmakers, John Bull is Thou art dearer than ever!
But sorrow return’d with the drawing the best. But breathe not a whisper
of morn, Of sorrow for me:
And the voice in my dreaming ear Anonymous Fear shall not reach me,
melted away. Nor misery sever,
7. NO.14 DERMOT AND SHELAH Thy Mary is worthy
Thomas Campbell O who sits so sadly, and heaves the Of love and of thee.
fond sigh?
6. NO.12 ENGLISH BULLS Alas! Cried young Dermot, ’tis only William Smyth (1765‐1849)

Och! I have you not heard, Pat, of poor I,
many a joke All under the willow, the willow so 9. NO.18 THEY BID ME SLIGHT MY
That’s made by the wits ’gainst your green. DERMOT DEAR
own country folk; My fair one has left me in sorrow to They bid me slight my Dermot dear,
They may talk of our bulls, but it must moan, For he’s of low degree,
be confest, So here am I come, just to die alone; While I my lady’s maid am here,
That, of all the bullmakers, John Bull is No longer fond love shall my bosom And of the quality.
the best. enslave, But if my mother would not grieve,
I’m just come from London, their I’m wearing a garland to hang o’er my And if the truth were known,
capital town, grave, Wellpleas’d would I this castle leave,
A fine place it is, faith, I’m sorry to All under the willow, the willow so And live for him alone.
own; green. Oh, never slight thy Dermot dear,
For there you can’t shew your sweet The fair one you love is, you tell me, Tho’ he’s of low degree,
face in the street, untrue, For thou thy lady’s maid art here,
But a Bull is the very first man that you And here stands poor Shelah, forsaken, And of the quality.
meet. like you, For tho’ thy mother haply grieve
Now, I went to Saint Paul’s, ’twas just All under the willow, the willow so When first the truth were known,
after my landing. green. She’ll bid thee not thy Dermot leave,
A great house they’ve built, that has O take me in sadness to sit by your But live for him alone.
scarce room to stand in; side, There’s now like thee, ‐ the kind of all,
And there, gramachree! Won’t you Your anguish to share, and your At funeral, and at fair;
think it a joke, sorrow divide; My lord’s fine man, hat’s in the hall,
The lower I whisper’d, the louder I I’ll answer each sigh, and I’ll echo each Can ne’er with thee compare.
spoke! groan, Thy heart is true, thy heart is warm;
Then I went to the Tower to see the And ’tis dismal, you know, to be dying And so is mine to thee;
wild beasts, alone, And would my Lord but give the farm,
Thinking out of my wits to be All under the willow, the willow so How happy should we be!

frighten’d at least; green. William Smyth (1765‐1849)
But these wild beasts I found standing Then close to each other they sat 10. NO.22 FROM GARYONE, MY
tame on a shelf, down to sigh, HAPPY HOME
Not one of the kit half so wild as Resolving in anguish together to die, From Garyone, my happy home,
myself. All under the willow, the willow so Full many a weary mile I’ve come,
Next I made for the Bank, Sir, for green, To sound of fife and beat of drum,
there, I was told, But he was so comely, and she was so And more shall see it never.
Were oceans of silver and mountains fair, ’Twas there I turn’d my wheel so gay,
of gold; They somehow forgot all their sorrow Could laugh, and dance, and sing, and
But I soon found this talk was mere and care; play,
bluster and vapour And, thinking it better a while to delay, And wear the circling hours away
For the gold and the silver were all They put off their dying, to toy and to In mirth or peace for ever.
made of paper. play, But Harry came, a blithesome boy,
A friend took me into the Parliament All under the willow, the willow so He told me I was all his joy,
house, green. That love was sweet, and ne’er could

And there sat the Speaker as mum as a cloy,
mouse, T. Toms
And he would leave me never:
For in spite of his name, won’t you 8. NO.16 HIDE NOT THY ANGUISH His coat way scarlet tipp’d with blue,
think this a joke tho’, Hide not thy anguish With gay cockade and feather too,
The speaker he whom they all of them Thou must not deceive me, A comely lad he was to view;
spoke to. Thy fortunes have frown’d, And won my heart for ever.
Of all the strange places I ever was in, And the struggle is o’er; My mother cried, dear Rosa, stay,
Wasn’t that now the place for a Come then the ruin! Ah! Do not from your parents stray;
hubbub and din. For nothing shall grieve me, My father sigh’d, and nought would
While some made a bother to keep If thou are but left me, say,
others quiet, I ask for no more. For he could chide me never:
And the rest call’d for “Order” Hard is the world, Yet cruel, I farewell could take,
meaning just, make a riot. It will rudely reprove thee; I left them for my sweetheart’s sake,
Then should you hereafter be told of Thy friends will retire, And came, ’twas near my heart to
some joke, When the tempest is near; break
By the Englishmen made ’gainst your Now is my season, From Garyone for ever.
own country folk, And now will I love thee, But poverty is hard to bear,
And cheer thee when none And love is but a summer’s wear,
99

And men deceive us when they swear The night is dark, the waters deep; Bloom non more, ye violets, near her,

They’ll love and leave us never: Yes, soft the billows roll: Yours are charms she would not prize.
Now sad I wander through the day, Alas! At every breeze I weep; Ellen! Go where crowds admire thee,
No more I laugh, or dance, or play, The storm is in my soul. Chariots rattle, torches blaze;
But mourn the hour I came away Here our dull content would tire thee,
From Garyone for ever. Helen Maria Williams Worthless be our village praise.
Go! Yet oh, that Thought’s soft season
T. Toms 13. NO.3 THE BRITISH LIGHT Ellen’s heart might but restore!
DRAGOONS Hard the task ‐ whate’er the reason
11. NO.25 OH HARP OF ERIN ‘Twas a Marechal of France, Hard the task to love no more.
O harp of Erin thou art now laid low, and he fain would honour gain,
For he the last of all his race is gone: And he long’d to take a passing glance William Smyth (1765‐1849)
And now no more the minstrel’s verse at Portugal from Spain,
shall flow, With his flying guns this gallant gay, 15. NO.9 THE KISS, DEAR MAID, THY
That sweetly mingled with thy dulcet And boasted corps d’armée, LIP HAS LEFT
tone: O he fear’d not our dragoons with The kiss, dear maid, thy lip has left,
The hand is cold that with a poet’s fire their long swords boldly riding. Shall never part from mine,
Could sweep in magic change thy Whack fal de ral la la la la la la la, Till happier hours restore the gift
sounding wire. And Whack fal de ral la la la la la la la. Untainted back to thine.
How lonely were the minstrel’s latter To Campo Mayor come, Thy parting glance, which fondly
days, he had quietly sat down, beams,
How of thy string with strains Just a fricassee to pick, An equal love, may see;
1
indignant rung; while his soldiers sack’d the town, [The] tear that from thine eyelid
To desert wilds he pour’d his ancient When ‘twas peste! Morbleu! Mon streams
lays, General, Can weep no change in me.
Or to a shepherd boy his legend sung: Hear th’ English bugle call! I ask no pledge to make me blest
The purple heath of ev’ning was his And behold the light dragoons with In gazing when alone;
bed, their long swords boldly riding. Nor one memorial for a breast
His shelter from the storm a peasant’s Whack fal de ral la la la la la la la, Whose thoughts are all thine own.
shed! And Whack fal de ral la la la la la la la. By day or night, in weal or woe,
The gale that round his urn its odour Three hundred British lads This heart, no longer free,
1
flings, they made three thousand reel, [Must] bear the love it cannot show,
And waves the flow’rs that o’er it Their hearts were made of English Oak, And silent ache for thee.
wildly wreathe, their swords of Sheffield steel,
Shall thrill along thy few remaining Their horses were in Yorkshire bred, George Gordon Noel Byron
strings, And Beresford them led;
And with a mournful chord his So huzza for brave dragoons with their 16. NO. 11.WHEN FAR FROM THE
requiem breathe. long swords boldly riding. HOME
The shepherd boy that paus’d his song Whack fal de ral la la la la la la la, When far from the home of your youth
to hear, And Whack fal de ral la la la la la la la. we have rang’d,
Shall chant it o’er his grave, and drop a There here’s a health to Wellington, How fondly we think of the days that
tear. to Beresford, to Long, are past;
And a single word of Bonaparte Their image through changes is ever
David Thomson before I close my song: unchang’d,
The eagles that to fight he brings Wherever our lot may be cast.
Should serve his men with wings, I muse on the features of those whom
20 IRISH SONGS, WoO153 SELECTION When they meet the brave dragoons I lov’d;
for solo voice, violin, violoncello and with their long swords boldly The farewell of friendship I yet seem to
piano riding. hear:
Whack fal de ral la la la la la la la, The scenes I remember where oft I
12. NO.2 NO RICHES FROM HIS And Whack fal de ral la la la la la la la. have rov’d,
SCANTY STORE The songs that delighted my ear.
No riches from his scanty store Sir Walter Scott In slumbers their music some vision
My lover could impart; recalls,
He gave a boon I valued more 14. NO.6 SAD AND LUCKLESS WAS And oft I implore it a moment to stay;
He gave me all his heart! THE SEASON But, ah! Soon the measure in soft
His soul sincere, his gen’rous worth, Sad and luckless was the season, cadence falls,
Might well this bosom move; When to court fair Ellen flew, I wake, and the sound dies away.
And when I ask’d for bliss on earth, Flew from Love, and Peace, and How sad the reverse, ‐ once I wept but
I only meant his love. Reason, in dreams,
But now for me, in search of gain, Worlds to see of promise new. The dawn then awoke me to hope and
From shore to shore he flies: Back she comes ‐ each grace is finer, delight;
Why wander, riches to obtain, Ev’ry charm that crowds adore, Now hope never comes with the
When love is all I prize! All the form divine, diviner morning’s gay beams,
The frugal meal, the lowly cot, But the heart is there no more. And joy is a phantom of night.
If blest my love with thee! Oh! ‘tis gone, the temper even, Oh! Sleep, how enchanting the power
That simple fare, that humble lot, Careless nature, artless ease! of thy wand,
Were more than wealth to me. All that makes retirement heaven More swift are thy pinions than fancy
While he the dang’rous ocean braves, Pleasing, without toil to please, e’er spread;
My tears but vainly flow: Hope no more, sweet lark, to cheer For back o’er the ocean of time they
Is pity in the faithless waves her, expand,
To which I pour my woe? Vain to her these echoing skies And bring us to scenes that are fled.
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Tho’ hope never comes with the And finer enchantment be waked from What bliss, to me my Patrick cries,

morning’s gay beams, my bowl. In splendour and in riches?
Tho’ long o’er the desert of life I may He says, we love too little prize,
roam, William Smyth (1765‐1849) That gold too much bewitches!
Oh! Let thy soft magic still waft me in More blest the lark, tho’ hard its doom
dreams 19. NO.14 PADDY O’RAFFERTY Whene’er the winter rages,
To all the lov’d scenes of my home. Paddy O’Rafferty, merry and vigorous, Than birds, he says, of finer plume,
Laugh’d at his lot, tho’ ‘twas somewhat That mope in gilded cages.
David Thomson too rigorous;
Poor was his prize from the wheel of REFRAIN
17. NO.12 I’LL PRAISE THE SAINTS life’s lottery,
I’ll praise the saints with early song, Turning the wheel in old Dennis William Smyth (1765‐1849)
For now the wars are ended; Keogh’s pottery.
I’ll praise our Lady late and long, Still he kept turning, and still the clay 21. NO.18 NO MORE, MY MARY
That has my Love defended. tapering, No more, my Mary, I sigh for
Yes, home is come my Patrick dear, Grew a black pot to hold ink for with splendour,
From me no more to sever; paper in, And riot’s joys no longer prize:
And in his looks, I see it clear: Sometimes a brown jar to hoard a On thee I muse in visions tender,
He loves me more than ever. small pension in, Or gaze on thy fond eyes.
He sits our evening fire beside, Sometimes, faith, something not Oh! Not the sages
The cabin round surveying, worth a word’s mentioning. With pedant pages,
And looks with all a father’s pride, Arrah, quoth Paddy, and so goes the ‘Tis thy soft smiles
While near the child is playing. round about, Have made me wise.
Even me he turns to gaze upon, So come those fortunes they make For life’s delusions of joy had left me;
As in my maiden beauty, such a sound about, With sated heart I turn’d to pine
Before my bloom was worn and gone Some in their savealls their thousands A faded world I thought was left me,
By many a toilsome duty. are gathering, Tho’all its pleasures mine.
My love, he cries, thou canst not Some from these inkpots great families O hours of folly!
guess, fathering. Of melancholy!
Tho’ kind and tender hearted, So Mister Keogh I no longer will stay How chang’d for bliss,
What I have known of sad distress, with ye, For love like thine.
Since last from thee I parted. Luck, whispers Paddy, take heart and
And little canst thou now suppose away with ye, William Smyth (1765‐1849)
How my poor heart is swelling, Stout are your limbs, a good
countenance carrying, 22. NO.19 JUDY, LOVELY, MATCHLESS
To find myself at evening’s close Why should not Paddy catch money by CREATURE
In this my peaceful dwelling. marrying? Judy, lovely, matchless creature,
Pat took the hint and gambol’d like a Beauty shines thro’ ev’ry feature,
William Smyth (1765‐1849) mountebank, Like yon light, the pride of nature,
Small were his dealings with town or Thro’ the morning dew.
18. NO.13 ’TIS SUNSHINE AT LAST with county bank, Come, then, to your Patrick’s dwelling,
‘Tis sunshine at last, come, my Ellen, Short his accounts were, and no need All around the buds are swelling,
sit near me, of docqueting, Ev’ry little linnet’s telling,
And twine me these roses, we sorrow Light was his moneybag, easy in ‘Tis the time to woo.
no more; pocketing. Dame o’ Flyn, sweet Judy’s mother,
Come taste of my cup, while it sparkles Up with his bundle, his trusty stick Would you bid me passion smother!
to cheer me, shouldering, Sure I’ll speak as well’s another
The cup that I fill, now the tempest is Set them, quoth Pat, stay at home and Tho’ poor Pat O’ Doyle.
o’er. be mouldering; Love within my breast is teazing,
Oh! Not that my mirth, with But a smooth shilling I’d willingly now Where I dumb ‘twould be amazing;
unhallow’d intrusion, wager, Sooner, when the coals are blazing,
Would thy gentle mind to rude Paddy O’Rafferty hooks an old Bid your pot not boil.
transport beguile, dowager.
But catch from my bowl one fond Sir Alexander Boswell
passing illusion, Sir Alexander Boswell
And crown my gay heart with thy
sympathy’s smile. 20. NO.16 O MIGHT I BUT MY
Oh! Ever, my love, must I think of that PATRICK LOVE CD82
season, O might I but my Patrick love! TWELVE IRISH SONGS WoO154,
When, friendless, we mingled our My mother scolds severely, COMPLETE
terrors and sighs; And tells me I shall wretched prove, for one to two solo voices, mixed
And how had I failed, in the night of Because I love him dearly! chorus, violin, violoncello and piano
my reason, In vain she rates me o’er and o’er
Had comfort not beam’d from thine With lessons cold and endless; 1. THE ELFIN FAIRIES
eloquent eyes. It only makes me love him more, We fairy elves in secret dells,
Take the glass that I fill, take the To find him poor and friendless. All day contrive our magic spells,
homage I render: Till sable night o’ercast the sky,
No riot shall break the soft dreams of REFRAIN: And trough the airy regions fly,
the soul; Oh! Patrick, fly from me, By Cynthia’s light so clear:
Around us shall breathe an Elysium Or I am lost for ever Around the earth ere dawn of day,
more tender, Oh! Fortune kinder be, On high we win our easy way;
Nor thus two Lovers sever. Sometimes the lawns to earth inviting,
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On the velvet turf alighting; Shall chant it o’er his grave, and drop a and proud exaltation burst forth from

So light, so light, tear. the nation
So light o’er pliant stalks we fleet, on Patrick’s day in the mornin’.
The blade scarce bends beneath our David Thomson
feet, Sir Alexander Boswell
But shakes as if for fear. 3. THE FAREWELL SONG
O Erin! To thy harp divine 5. OH! WHO, MY DEAR DERMOT
REFRAIN I bid adieu: Oh! who, my dear Dermot,
So light, so light, Yet let me now its sounds resign Has dar’d to deceive thee,
So light o’er pliant stalks we fleet, With homage due. And what’s the dishonour
The blade scarce bends beneath our Thy gen’rous sons, that know not fear, This gold is to buy?
feet, Their feelings, genius, fire: Back, back to thy tempter,
But shakes as if for fear. O blest be all! But Erin dear, Or Norah shall leave thee,
Be blest thy lyre. To hide her in woods,
And if no bus’ness calls from home O where the heart that would not And in deserts to die.
Around the wheeling globe to roam; bound Tho’ poor, we are honest,
We to some flow’ry meadow stray, With answering beat, And will not this cheer us,
And sing and dance the night away, To hear thy Planxty’s dancing sound, Thy sire and thy grandsire
Around our Fairy Queen. And numbers sweet. Have ask’d for no more;
Then we our mushroom board And where the heart that sinks not And shame with its shadow
prepare, low, Has never come near us
The gather’d sweets of flow’rs our And musing melts away, To shut out the sun
fare, To hear thy harp’s deep lonely flow, From our cabin before.
The dewy nectar round distilling, When mourns the lay. O look at yon lark,
All our hairbell goblets filling; No toil can e’er such sweets supply, Where the sky shines so brightly,
Good night, good night: No chymic power, Say why does it carol
Good night we say, then sink to rest As brings the bee, with honied thigh, Its echoing lay:
Upon some lily’s downy breast, From wild heath flower: Is’t singing so gaily
By mortal eyes unseen. And Science, that could wake the And mounting so lightly,
strings Because it finds gold
REFRAIN To chords of rapture high, In the dawn of the day?
May envy, while she smiling sings O Dermot, thy heart is
Good night, good night: Thy minstrelsy. With agony swelling,
For once it was honest,
Good night we say, then sink to rest
William Smyth (1765‐1849) And honour its law.
Upon some lily’s downy breast,
An Irishman thou, and
By mortal eyes unseen.
4. THE PULSE OF AN IRISHMAN Have bribes in thy dwelling!
David Thomson The pulse of an Irishman ever beats Back, back, to thy tempter,
quicker, Go, Erin go Bragh!
2. O HARP OF ERIN whan war is the story, or love is the
O harp of Erin thou art now laid low, theme; William Smyth (1765‐1849)
For he the last of all his race is gone: and place him where bullets fly thicker
And now no more the minstrel’s verse and thicker, 6. PUT ROUND THE BRIGHT WINE
shall flow, you’ll find him all cowardice scorning. Put round the bright wine,
That sweetly mingled with thy dulcet And tho’ a ball should maim poor for my bosom is gay,
tone: Darby, the night may have sunshine
The hand is cold that with a poet’s fire light at the heart he rallies on: as well as the day.
Could sweep in magic change thy “Fortune is cruel, but Norah, my jewel, Oh welcome the hours!
sounding wire. is kind, and with smiling, all sorrow when dear visions arise
How lonely were the minstrel’s latter beguiling, to melt my kind spirit,
days, shall bid from our cabin all care to be and charm my fond eyes.
How of thy string with strains gone, When wine to my head
indignant rung; and how they will jig it, and tug at the can its wisdom impart,
To desert wilds he pour’d his ancient spigot, and love has its promise
lays, an Patrick’s day in the mornin’.” to make to my heart;
Or to a shepherd boy his legend sung: O blest by the land in the wide western when dim in far shade
The purple heath of ev’ning was his waters, sink the spectres of care,
bed, sweet Erin, lov’d Erin, the pride of my and I tread a bright world
His shelter from the storm a peasant’s song; with a footstep of air.
shed! still brave be the sons, and still fair be Yes, mirth is my goddess,
The gale that round his urn its odour the daughters come round me, ye few,
flings, thy meads and thy mountains who have wit for her worship,
And waves the flow’s that o’er it wildly adorning! I doat upon you:
wreathe, And tho’ the eastern sun seems tardy, delighted with life,
Shall thrill along thy few remaining tho’ the pure light of knowledge slow, like a swallow on wing,
strings, night and delusion, and darkling I catch ev’ry pleasure
And with a mournful chord his confusion the current may bring:
requiem breathe. like mists from the river shall vanish the feast and the frolic,
The shepherd boy that paus’d his song for ever, the masque and the ball,
to hear, and true Irish hearts with warm loyalty dear scenes of enchantment!
glow; I come at your call;
let me meet the gay beings
102

of beauty and song, REFRAIN 10. THE HERO MAY PERISH

and let Erin’s good humour Speak ye wiser than the wise, The hero may perish his country to
be found in the throng. Breathe aloud your welcome measure, save
If life be a dream, Youthful Fancy well can prize And he lives in the records of fame;
‘tis a pleasant one sure, The words that counsel love and The sage may the dungeons of tyranny
and the dream of tonight pleasure. brave,
we at least may secure. Ever honour’d and blest be his name!
If life be a bubble, Is it merry look, or speech, But virtue that silently tells and
tho’ better I deem, Or bounding step that thus displeases? expires,
let us light up its colours Go and graver movements teach No wreath, no wreath for the brow to
by gaiety’s beam. To yon light goss’mer on the breezes: adorn,
Away with cold vapours, Go where breathes the opening spring, That asks but a smile, but a fond sigh
I pity the mind And chide the flowers for gaily requires;
that nothing but dullness blowing, O woman, that virtue is thine!
and darkness can find: Tell the linnet not to sing
give me the kind spirit In jocund May, when noon is glowing. William Smyth (1765‐1849)
that laughs on its way,
and turns thorns into roses, REFRAIN 11. THE SOLDIER IN A FOREIGN LAND
and winter to May. The piper who sat on his low mossy
Hence with wisdom, dull and drear, seat,
William Smyth (1765‐1849) And welcome folly at a venture: And piped to the youngsters so shrill
Cease my song, a sound I hear, and so sweet;
7. FROM GARYONE, MY HAPPY HOME The planxty comes, the dancers enter. The far distant hum of the children at
From Garyone, my happy home, In yon throng, if I should see play,
Full many a weary mile I’ve come, Some gallant, giddy, gay adviser, And the maiden’s soft carol at the
To sound of fife and beat of drum, Who trough life might counsel me, close of the day.
And more shall see it never. He indeed might make me wiser. Ah! This was the music delighted my
’Twas there I turn’d my wheel so gay, ear,
Could laugh, and dance, and sing, and REFRAIN And to think of it now is so sad and so
play, dear!
And wear the circling hours away 9. OH! WOULD I WERE BUT THAT Ah! To listen at case by my own
In mirth or peace for ever. SWEET LINNET! cottage door,
But Harry came, a blithsome boy, Oh! would I were but that sweet Tho the sound of my own native village
He told me I was all his joy, linnet! once more!
That love was sweet, and ne’er could That I had my appletree too! I knew ev’ry dame in her holiday airs,
cloy, and he would leave me never: Could sit all the sunny day on it, I knew ev’ry maiden that danc’d at our
His coat way scarlet tipp’d with blue, With nothing but singing to do! fairs;
With gay cockade and feather too, I’m weary with toiling and spinning; I knew ev’ry farmer to market we
A comely lad he was to view; And Dermot I never can see, came,
And won my heart for ever. Nor sure am I Dermot of winning, and tho dog that ran after him cull’d
My mother cried, dear Rosa, stay, There’s never good luck for poor me! by its name
Ah! Do not from your parents stray; I set was my heart all the Sunday And who know I now, in this far
My father sigh’d, and nought would On going to Killaloe fair, foreign land,
say, for he could chide me never: So my father fell ill on the Monday, But the stiff collard sergeant, the
Yet cruel, I farewell could take, And, look ye I could not be there, trimcoated band?
I left them for my sweetheart’s sake, And it was not the fair that I minded, No kinsman to comfort his own flesh
And came, ’twas near my heart to For there was I Dermot to see; and blood,
break from Garyone for ever. But I’m always before or behind it, nor merry ey’d damsel to do my heart
Buit poverty is hard to bear, And there’s never good luck for poor good.
And love is but a summer’s wear, me! To my sight or my ear, no gay cheering
And men deceive us when they swear I tried with my sweetest behaviour doth come,
They’ll love and leave us never: To tell our good priest my distress; But the flare of our colours, the tuck of
Now sad I wander through the day, And ask’d him to speak in my favour, our drum;
No more I laugh, or dance, or play, When Dermot came next to confess. The fierce flashing steel of our long
But mourn the hour I came away But he said I was but a beginner, muster’d file,
From Garyone for ever. And from love and temptation must an the sharp dinning fifer that playeth
the while.
flee!
T. Toms At night as I keep on the wearisome
So if love will but make me a sinner,
watch,
There’s never good luck for poor me!
8. SAVE ME FROM THE GRAVE AND The sound of the west wind I greedily
Ye Saints, with the Virgin! Believe me,
WISE catch,
I join with the priest in your praise!
Save me from the grave and wise, And the shores of dear Ireland then
Contrive but my Dermot to give me,
For vainly would I tax my spirit, rise to my sight,
And I’ll love you the length of my days.
Be the thing that I despise, And my own native valley, that sport
In vain would they bid me be wiser,
And rival all their stupid merit. of delight.
And never my Dermot to see,
On! My careless laughing heart, Divided so far by a wide stormy main,
Bad luck to advice and adviser!
O dearest Fancy let my find thee, Shall I ever return to our valley again?
Good luck! To dear Dermot and me!
Let me but from sorrow part, Ah! To listen at ease by my own
And leave this moping behind me. William Smyth (1765‐1849) cottage door,

103

To the sound of my own native village See his ardent visage glow! O may I by some ribbon see

once more! Now he speeds the mortal blow, He thought of one that was not there.
See the savage die!
Joanna Baillie From dusky den and thorny brake, William Smyth (1765‐1849)
The chiding hounds the echoes wake,
12. HE PROMISED ME AT PARTING The forest’s cowering inmates quake, 4. LOVE WITHOUT HOPE
He promised me at parting, And triumph rends the air. Her features speak the warmest heart,
To meet me at the springtime here; Was ever youth like Evan’s son, But not for me its ardour glows;
Yet see yon roses blooming, Was ever course so nobly run? In that soft blush I have no part
The blossoms how they disappear. Was ever prize so glorious won, Thet mingles with her bosom’s snows.
Return my dearest Dermot! ‘Tis Winifred the fair! In that dear drop I have no share
Or sure the spring will soon be o’er; To hardy deeds and conquering arms, That trembles in her melting eye;
Fair long have blown the breezes, That save the fold from midnight Nor is my love the tender care
Oh! When shall I see thee more. harms, That birds her heave that anxious sigh.
He went to look for treasures, The ancient chief decrees her charms Not fancy’s happiest hours create
They’re found they say in London The maid beyond compare! Visions of rapture as divine,
town; As the pure bliss which must await
And ’tis for me he means them, Anne Grant The man whose soul is knit to thine.
Both golden store and silken gown. But ah! Farewell this treacherous
I want but thee, my Dermot! 2. THE MONKS OF BANGOR’S MARCH theme,
Nor silken gown, nor golden store; When the heathen trumpet’s clang Which, though’tis misery to forego,
Fair long have blown the breezes, Round beleaguer’d Chester rang, Yields yet of joy the soothing dream,
Oh! When shall I see thee more. Veiled nun and friar grey That grief like mine thou ne’er shalt
No longer have I pleasure, March’d from Bangor’s fair abbaye: know.
nor at the wake, nor merry fair, High their holy anthem sounds,
they mock me at the bridal, Cestria’s vale the hymn rebounds, John Richardson
and why indeed is Norah there! Floating down the sylvan Dee,
I sit as if I heard not O miserere Domine! 5. THE GOLDEN ROBE
The Planxty I so lov’d before, Weltering amid warriors slain, HE
Fair long have blown the breezes, Spurned by steeds with bloody mane, A golden robe my Love shall wear,
Oh! When shall I see thee more. Slaughter’d down by heathen blade, And rubies bind her yellow hair;
Why go to that great city, Bangor’s peaceful monks are laid: A golden robe those limbs enfold,
Oh why so far from Norah roam, Word of parting rest unspoke, So far above the worth of gold.
Return to those that love thee, Mass unsung, and bread unbroke; No courtly dame in gaudy pride,
There’s little love so far from home. For their souls for charity, Shall e’er outshine my lovely bride;
Thou art not faithless, Dermot, Sing, miserere Domine! Then say, my charming maiden say,
Yet sure the spring is almost o’er, Bangor! o’er the murder wail, When shall we name the happy day?
Fair long have blown the breezes, Long thy ruius told the tale,
Oh! When shall I see thee more. Shatter’d tower and broken arch SHE
Long recall’d the woeful march: Can golden robes my fancy bind,
William Smyth (1765‐1849) On thy shrine no tapers burn, Or ruby chains enslave the mind?
Never shall thy priests return; Not all the wealth our mountains own,
The pilgrim sighs and sings for thee, Nor orient pearls, nor precious stone,
O miserere Domine! Can tempt me by their idle shine,
CD83 Or buy a heart that’s form’d like mine!
TWENTY‐SIX WELSH SONGS WoO155, Walter Scott My choice it is already made,
COMPLETE I shun the glare, and court the shade.
for one to two solo voices, violin, 3. THE COTTAGE MAID
violoncello and piano O Owen, I believe thee kind, HE
And love is surely on thy tongue Your scorn, proud girl, I well can bear,
1. SION, THE SON OF EVAN But would that I could read thy mind, There’s many a maid my robes would
Hear the shuts of Evan’s son! For hope betrays the maiden young. wear,
See the gallant chase begun! Last night I saw thee loth to part, And thank me too; so take your way,
Lo the deer affrighted run I watch’d thy looks ‐ so bright the But you’ll repent another day.
Up yon mountain’s side. moon
Check your speed, ye timorous deer, And know not but my simple heart SHE
Safely rest and cease you fear, Might own too much, or own too soon. Go with your robes and gifts of gold
Or boldly on your cliffs appear Unhappy fate, oh doubtful maid! To those whose hearts are to be sold;
And bear your antlers high! Her tears may fall, her bosom swell. For me, I have no other pride
Deep through yonder tangling wood But even to the desert shade But Evan’s love my choice to guide!
See the felon wolf pursued, She never must her secret tell.
Straining hard, and streaming blood, And is it Love, his softer mien? Anne Hunter
Sion’s hounds are nigh! And is it Love, his whisper low?
See the woodland savage grim, And does he much, or nothing mean? 6. THE FAIR MAID OF MONA
Boney, gaunt, and large of limb, Ah! She that loves, how can she know! How, my love, coulds hapless doubts
Furious plunge, and fearless swim With Owen I the dance have led, o’er take thee,
O’er the water wide. And then I thought that sure he Was my heart so little known?
Hear the woods resounding far, seem’d Could’st thou think thy Mary wou’d
Hark the distant din of war, To dance with lighter, livelier tread forsake thee?
See th’impatient hunter dare Oh! Was it so, ‐ or have I dream’d? Thou wast lov’d, and thou alone!
Conway’s swelling tide. Today he goes with merry glee, Cruel Fortune! Rash! Mistaken Lover!
Evan’s son pursues the foe; And all are going to the fair May I must I not complain:
104

Never, never may’st thou now 9. TO THE AEOLIAN HARP 11. MERCH MEGAN; OR, PEGGY’S

discover, Harp of the winds! In airy measure DAUGHTER
All that now were known in vain. Thy strings when viewless fingers In the white cot where Peggy dwells,
Mine the grief, alas! That knows no move, Her daughter fair the rose excels
measure, Unfolding all thy tuneful treasure, That round her casement sweetly
Thou wast lov’d, and thou alone: Thy cadence wild I dearly love. blows,
Thine the life that now can feel no And on the gale its fragrance throws.
pleasure, REFRAIN: O were she mine, the lovely maid!
Wreck’d my bliss, and lost thine own. The sounds, all earthly sounds She soon would leave the lonely
Sometimes will my lonely sighs accuse excelling, shade.
thee, Our wand’ring thoughts to heav’n I’d bear her where the beams of morn
Think thee hasty, ... call thee blind; recall; Should with their brightest rays adorn
Hasty, sure, ... and I for ever lose thee, Now softly sighing, loudly swelling, Each budding charm and op’ning
But thy heart was not unkind. Lost in many a dying fall. grace,
That moulds her form and decks her
William Smyth (1765‐1849) Harp of the winds! While, pensive face.
musing, O were she mine, the lovely maid!
7. OH LET THE NIGHT MY BLUSHES I mark thy deep impassion’d strain, I’d bear her from the lonely shade.
HIDE When trees their summer beauty But, should the sultry orb of day
Oh let the night my blushes hide, losing, Too fiercely dart his fervid ray,
While thus my sighs reveal, With yellow leaves bestrew the plain. The rose upon its stalk might die,
What modest love and maiden pride And zephyr o’er its ruins sigh!
Forever would conceal. REFRAIN No – I would keep my lovely maid
What can he mean, how can he bear, Secure beneath the friendly shade.
Thus falt’ring to delay; Harp of the winds! While, faintly
How can his eyes, his eyes so much beaming, 12. WAKEN, LORDS AND LADIES GAY
declare, Yon moon hangs o’er the ruined Waken, lords and ladies gay,
His tongue so little say, his tongue so tower, Upon the mountain dawns the day;
little say? And flitting shadows dimly gleaming, All the jolly chase is here.
The times are hard, an odious word, Seem subject to thy magic power. With hawk and horses and hunting‐
I’m wearied with the sound, spear!
A cuckoo note, for ever heard REFRAIN The eager hounds in chorus cry,
Since first the sun went round, The swelling horns salute the sky;
Well pleas’d a happier mind I bear, Anne Hunter And merrily, merrily mingle they,
A heart for ever gay; Then waken, lords and ladies gay!
How can his eyes, his eyes so much 10. NED PUGH’S FAREWELL Waken, lords and ladies gay,
declare, To leave my dear girl, my country, and The mist has left the mountain gray,
His tongue so little say, his tongue so friends, Brakes are deck’d with diamonds
little say? And roam o’er the ocean, where toil bright,
What recks it that the times are hard, never ends; And streams rejoice in early light.
Try fortune, and be blest‐ To mount the high yards, when the The foresters have busy been
Set Hope still cheer and Honour guard, whistle shall sound, To track the buck in thicket green;
And Love will do the rest. Amidst the wild winds as they bluster Now we are come to chant our lay,
Far better load the heart with care, around! Then waken, lords and ladies gay.
Than waste it with delay; My heart aches to think on’t, but still I Louder, louder chant the lay,
How can his eyes, his eyes so much must go, O waken, lords and ladies gay;
declare, For duty now calls me to face the Tell them Youth and Mirth and Glee
His tongue so little say, his tongue so proud foe: Run swift their course as well as we;
little say? And so to my Winny I must bid adieu, Old Time, stern huntsman! who can
In hopes when I’m gone she will think baulk,
William Smyth (1765‐1849) of Ned Pugh. As staunch as hound and fleet as
That still she will think she is near to hawk?
8. FAREWELL, THOU NOISY TOWN my heart, O think of this, and rise with day,
Farewell, farewell, thou noisy town, Tho’ far from each other, alas! We Ye gentle lords and ladies gay!
Thou scene of restless glare; must part,
Thine hours no real pleasures crown, That next to my duty, my thoughts she Walter Scott
No peace, no love is there. will share,
How dull thy splendid ev’nings close! My love and my glory both centre in 13. HELPLESS WOMAN
How sad thy joys to me! her! How cruel are the parents
Thy hollow smiles, thy rival shows, And should I return with some hits Who riches only prize,
And all thy misery. from Mountseer, And to the wealthy booby
But welcome to my longing eyes, I know I shall meet with a smile and a Poor woman sacrifice:
Dear objects ever new, tear; Meanwhile the hapless daughter
My rural cot, you varying skies, Or if I should fall then dear Winny Has but a choice of strife
Streams, woods, amd mountains blue! adieu! To shun a tyrant father’s hate,
With these my humble spirits finds I know when I’m gone you’ll remember Become a wretched wife.
Health, liberty, and rest, Ned Pugh. The rav’ning hawk pursuing,
The silent joys of simple minds, The trembling dove thus flies;
And leisure to be blest. Anne Hunter To shun impelling ruin
A while her pinions tries;
William Smyth (1765‐1849) ‘Till of escape despairing,

105

No shelter or retreat, eglantine bow’rs, 18. SWEET RICHARD

She trusts the ruthless falconer, Thy banks with the blush rose and Yes, thou art chang’d since first we
And drops beneath his feet. amaranth glowing, met,
While friendship and mirth claim these But think not I shall e’er regret,
Robert Burns (1759‐1796) labourless hours. For never can my heart forget,
The charms that once were thine.
14. THE DREAM REFRAIN: For Marian, well the cause I know
Last night worn with anguish that Yet weak is our vaunt, while something That stole the luster from thine eye,
tortur’d my breast, we want, That prov’d thy beauty’s secret foe,
When my senses benumb’d I at length More sweet than the pleasures which And paled thy cheek’s carnation dye:
sank to rest; prospects can give: What made thy health, sweet Marian,
The passion that waking has ruled o’er Come, smile, sweet damsels of fly,
my mind Cardigan! Was anxious care of me.
Still woke in my dreams where it rov’d Love can alone make it blissful to live. Yes, o’er my couch I saw thee bend,
unconfin’d. The duteous wife, the tender friend,
Methought that my fair one, o’ercome How sweet was the strain that And each capricious wish attend
by my pain, enliven’d the spirit, With soft incessant care.
Assented at length to reward her fond And cheer’d us with numbers so frolic Then trust me, Love, that pallid face
swain; and free! Can boast a sweeter charm for me,
And soon at the altar she stood by my The poet is absent, be just to his merit! A truer, tenderer, dearer grace
side, Ah may he in love be mor happy than Than blooming health bestow’d on
To the priest I already “I will” had we! thee:
replied. For there thy welltried love I see,
Her reply I awaited with transport of REFRAIN And read my blessing there.
soul,
When, death to my hopes! did the How sweet was the circle of friends Amelia Alderson Opie
matin bell toll, round a table,
I started, awoke, and with horror I Where stately Kilgarran o’erhangs the 19. THE VALE OF CLWYD
found, brown dale, Think not I’ll leave fair Clwyd’s vale;
‘Twas a dream that maliciously fled at Where none are unwilling, and few are To me ‘tis fondly dear!
the sound. unable, For still its scenes those hours recall
When I was blest and Henry here.
To sing a wild song, or repeat a wild
Based on a text in Welsh by Dafydd ap Long, long, to part our willing hands
tale!
Gwilym (c1340‐c1400) , Y Breuddwyd An angry father strove;

While sorrow prey’d on Henry’s health,
REFRAIN
15.WHEN MORTALS ALL TO REST A sorrow nurs’d by hopeless love.
RETIRE W. Jones Nor was the idea in vain:
When mortals all to rest retire, How sad thou art, he cried;
o Moon! Thou hear’st my whisp’ring 17. THE DAIRY HOUSE But smile again, my darling child;
lyre: A spreading hawthorn shades the seat For thou shalt be thy Henry’s bride.
to thee I wake the mournful lay; where I have fix’d my cool retreat; At that glad sound, on wings of love,
for sure thou lookst as if thy ray and when the spring, with sunny To Henry’s cot I flew:
would confort, if it could, show’rs, But, ah! The transient flush of joy
convey, and happier songs inspire. expands the leaves, and paints the From his wan cheek too soon
And I will happier be; flow’rs, withdrew.
my heart, though late, shall wisdom a thousands shrubs around it bloom, Ah! Hopes too false; ah! Fears too
learn, and fill the air with wild perfume; true,
from love’s delusions free: the light winds through the branches Nor love nor joy could save:
my spirit shall in dignant burn, sigh, I can no more, ‐ but mark you turf
and I with maiden pride will spurn and limpid rills run tinkling by. With flow’rs o’erspread, ‐ ‘tis Henry’s
his strange inconstancy. There, by the twilight dimly seen, grave!
Roll on ye hours! And back restore The fairies dance upon the green,
the peaceful thoughts I knew before, And as they glide in airy ring, Amelia Alderson Opie
when smil’d the arts, when charm’d The beetle plies his drowsy wing;
the muse, And watching’ till the day retires, 20. TO THE BLACKBIRD
when morn for me had beauteous The glow worm lights her elfin fires; Sweet warbler of a strain divine,
hues, While Mab, who guards my milky What woodland note can equal thine?
and evening could her calm diffuse store, No hermit’s matins hail the day
my ardent bosom o’er. Her cream bowl finds before the door. More pure than fine from yonder
But Love! Thou fiend of pain! The grateful Fay! she is so kind spray.
I feel the tears of anguish start No caterpilar there you find, Thy glossy plumes of sable hue,
how hard my peace to gain! No creeping thing, nor wasp, nor fly Retiring from the searching view,
O fiend and tyrant as thou art! The lattic’d windows dare come nigh; Protect the like, the leafy screen
That wring’st from my unwilling heart No long legg’d Spinner nightly weaves Beneath whose shade thou singst
the sighs that I disdain. Her flimsy web beneath the eaves; unseen.
Thou to the poet art allied,
But clean and neat, as by a charm,
William Smyth (1765‐1849) Be then thy minstrelsy my pride:
The fairies keep my dairy farm.
Thy poet then, thy song I’ll praise,
16. THE DAMSELS OF CARDIGAN Anne Hunter Thy name shall grace my happiest lays;
Fair Tivy how sweet are thy waves To future lovers shall proclaim
gently flowing, Thy worth, thy beauty, and thy fame,
Thy wild saken woods and green
106

And when they hear thee in the grove, Who’d barely enough, not a morsel to But Music’s matchless art

Thy’ll own thee for the bird of love. spare. Can turn it to delight.
They sometimes were hatless when How sweet the farewell glass,
Based on a text in Welsh by Dafydd ap summer was hot When Music gives it zest!
Gwilym (c1340‐c1400) And shoeless when winter in snow How sweet their dreams who pass
wrapt their cot; From harmony to rest!
21. CUPID’S KINDNESS Yet up grew the boys that no hardship Dark thoughts that scare repose,
Dear brother! Yes, the nymph you wed could break, At Music’s voice give place;
Must be of loveliest feature, And one of the five is my lad of the And Fancy lends her rose,
The finest heart, the finest head, lake. Sleeps poppy wreath to grace.
The sweetest dearest creature. My father, o bless him! Few better, or
This matchless maid go find and woo, such, William Robert Spencer
And heav’n for you preserve her! Yet loves his dear money a little too
I only ask, where is in you much,
Te merit to deserve her? Declar’d, if by fancy alone I was
We girls, I own, are just the same, sway’d, CD84
Talk folly just as blindly; Nor his wealth, nor his blessing, my TWELVE SCOTTISH SONGS WOO 156,
And did not Cupid take his aim Howel should aid! COMPLETE
And rule the world more kindly, I answer’d, my Howel has vigour and for one to three solo voices, mixed
Fair maids to find with ev’ry grace, health, chorus, violin, violoncello and piano
How vain were your endeavour? And these to the children of Nature
And we might in another place are wealth; 1. THE BANNER OF BUCCLEUCH
Lead apes, alas! for ever. Tho’my heart were a dozen, they’d all From the brown crest of Newark its
summons extending,
of hem break,
William Smyth (1765‐1849) Our signal is waving in smoke and in
If still he denied me the lad of the lake.
flame;
Now hear how my troubles and
22. CONSTANCY And each forester blithe, from his
sorrows are past,
Tho’ cruel fate should bid us part mountain descending,
How my father himself grew a convert
As far’s the pole and line, Bounds light o’er the heater to join in
at last;
Her dear idea round my heart the game.
‘Twas when his foot slip’t as he enter’d
Would tenderly entwine. Then up with the banner, let forest
the boat,
Tho’ mountains frown, and deserts winds fan her,
My Hywel uprais’d him as quick as a
howl, She has blaz’d over Ettrick eight ages
thought.
And oceans roll between; and more;
He ey’d him with kindness, and gave
Yet, dearer than my deathless soul, In sport we’ll attend her, in battle
me a kiss,
I still would love my Jean. defend her

And said, Kate, I should like to have
grandsons like this; With heart and with hand, like our
Robert Burns (1759‐1796)
Be happy, my girl, and the treasure fathers of yore.

now take, We forget each contention of civil
23. THE OLD STRAIN
Tho’poor, yet a prize is thy lad of the dissension
My pleasant home be side the Dee!
lake. And hail like our brethren, Hone,
I often sigh to think of thee,
Douglas and Car;
dear scenes of love and peace and
Richard Litwyd And Elliot an Pringle in pastime shall
ease,
mingle,
how diff ’rent all from scenes like
25. THE PARTING KISS As welcome in peace as their fathers in
these!
Laura, thy sighs must now no more war.
My soldier brave I’ve follow’d far
My faltring step detain, Then strip, lads, and to it, though
but sicken at these sights of war.
Nor dare I hang thy sorrows o’er, sharp be the weather
The nod at church, the conscious
Nor clasp thee thus in vain: And if, by mischance, you should
smile,
Yet while thy bosom heaves that sigh, happen to fall,
The haste to help me at the stile,
While tears thy cheek bedew, There are worse things in life than a
The pleasant walk at summer eve,
Ah! Think tho’ doom’d from thee to tumble on heather,
The parting kiss at taking leave:
fly, And life is it self but a game at football.
O hours! That once with Tom were
My heart speaks no adieu. And when it is over, we’ll drink a blithe
past,
Thee would I bid to check those sighs, measure,
Dear happy hours! too sweet to last.
If thine were heard alone To each laird and each lady that
Yet Love, I know, always cure
Thee would I bid to dry those eyes, witness’d our fun,
The ills that we from Love endure;
But tears are in my own. And to every blithe heart that took
And Tom can with a single smile
One last, long kiss and then we part, part in our pleasure,
The weariest of my thoughts beguile,
Another and adieu! To the lads that have lost, and the lads
Dear pleasant home beside the Dee!
I cannot aid thy breaking heart, that have won.
I must not ‐ will not ‐ think of thee.
For mine is breaking too. May the forest still flourish, both
borough and landward,
William Smyth (1765‐1849)
William Smyth (1765‐1849) From the hall of the peer to the herd’s

ingle nook;
24. THREE HUNDRED POUNDS
26. GOOD NIGHT And huzza! My brave hearts, for
In yonder sung cottage, beneath the
Ere yet we slumber seek, Buccleuch and his standard,
cliff ’s side,
Blest Queen of Song, descend! For the Kind and the Country, the Clan
And close to the pebbles that limit the
Thy shell can sweetest speak and the Duke.
tide,
Good night to guest and friends.
Were five little fellows, a couple’s fond
‘Tis pain, ‘tis pain to part Sir Walter Scott
care,
For e’en one fleeting night;
107

2. DUNCAN GRAY The active day so boon, so bright, Then I might see the joyfu’ sight,

Duncan Gray came here to woo, May bring good fortune ere the night. My Higland Harry back again.
Ha, ha, the wooing o’t! The active day so boon, so bright,
On blythe Yule night when we were May bring good fortune ere the night. REFRAIN
fu’,
Ha, ha, the wooing o’t! Joanna Baillie Robert Burns (1759‐1796)
Maggie coost her head fu’ heigh,
Lock’d asklent and unco skeigh, 4. YE SHEPHERDS OF THIS PLEASANT 7. POLLY STEWART
Gart poor Duncan stand abeigh, VALE O lovely Polly Stewart,
Ha, ha the wooing o’t! Ye shepherds of this pleasant vale, O charming Polly Stewart,
Duncan fleech’d and Duncan pray’d; Where Yarrow glides along, There’s not a flower that blooms in
Ha, ha, the wooing o’t! Forsake your rural toils May,
Meg was deaf as Ailsa Craig, And join in my triumphant song! That’s half so fair as thou art.
Ha, ha, the wooing o’t! She grants, she yields one heav’nly The flower it blaws, it fades and fa’s,
Duncan sigh’d baith out and in, smile, And Art can ne’er renew it,
Grat his een baith bleert and blin’, Atones her long delays, But Worth and Truth eternal Youth
Spake o’lowpon o’er a linn; One happy minute crown the pains Will give to Polly Stewart!
Ha, ha, the wooing o’t! Of many suff ’ring days. May he who wins thy matchless charm
Time and chance are but a tide, Possess a leal a true heart;
Ha, ha, the wooing o’t! REFRAIN: To him be given to ken the heav’n
Slighted love is sair to bide, Yarrow, how dear thy stream, He gains in Polly Stewart!
Ha, ha, the wooing o’t! Thy beauteous banks how blest! O lovely Polly Stewart,
Shall I, like a fool, quoth he, For there ‘twas first my loveliest maid, O charming Polly Stewart.
For a haughty hizzie die? A mutual flame confest. There’s ne’er a flower that blooms in
She may gae to France for me! May
Ha, ha the wooing o’t! Take, take whate’er of bliss or joy, That’s half so sweet as thou art.
You fondly fancy mine;
How it comes, let Doctors tell,
Whate’er of joy or bliss I boast, Robert Burns (1759‐1796)
Ha, ha the wooing o’t!
Love renders wholly thine.
Meg grew sick as he grew heal,
The woods struck up to the soft gale, 8. WOMANKIND
Ha, ha, the wooing o’t!
The leaves were seen to move, The hero may perish his country to
Something in her bosom wrings,
The feather’d choir resum’d their save
For relief a sigh she brings;
voice, And he lives in the records of fame;
And oh! Her een, they spak sic things!
And music fill’d the grove. The sage may the dungeons of tyranny
brave,
Duncan was lad o’ grace,
REFRAIN Ever honour’d and blest be his name!
Ha, ha, the wooing o’t!
But virtue that silently toils and
Maggie’s was a piteous case,
William Hamilton expires,
No wreath, no wreath for the brow to
Duncan could na be her death,
5. CEASE YOUR FUNNING adorn,
Swelling pity smoor’d his wrath;
Cease your funning, force or cunning, That asks but a smile, but a fond sigh
Now they’re crouse and canty baith,
Never shall my heart trepan; requires;

All these sallies are but malice O woman, that virtue is thine!
To seduce my constant man.
Robert Burns (1759‐1796)
‘Tis most certain by their flirting William Smyth (1765‐1849)

Women oft have envy shown,
3. UP! QUIT THY BOWER
Pleas’d to ruin other’s wooing 9. LOCHNAGAR
Up! Quit thy bower, late wears the
Never happy with their own. Away, ye gay landscapes, ye gardens of
hour,
roses,
Long have the rooks caw’d round the
Anonymus In you let the minions of luxury rove,
tower;
Restore me the rocks where the
On flower and tree lood hums the bee,
6. HIGHLAND HARRY snowflake reposes,
The wilding kid sports merrily.
My harry was a gallant gay, Though still they are sacred to
A day so bright, so fresh, so clear,
Fu’ stately strade he on the plain; freedom and love.
Shines sweetly when good fortune’s
But now he’s banish’d far away, And yet Caledonia, belov’d are thy
near;
I’ll never see him back again. mountains,
A day so bright, so fresh, so clear,
Around their white summits the
Shines sweetly when good fortune’s
REFRAIN: elements war
near.
O for him back again, Though cataracts foam ‘stead of
Up! Lady fair, and braid thy hair,
O for him back again, smooth flowing fountains,
And rouse thee in the breezy air;
I wad gie a Knockhaspie’s land I sigh for the valley of dark Lochnagar.
The lulling stream, that sooth’d thy
For Higland Harry back again. Ah there my young footsteps in infancy
dream,
wander’d,
Is dancing in the sunny beam:
When a’ the lave gae to their bed, My cap was the bonnet, my cloak was
And hours so sweet, so bright, so gay,
I wander dowly up the glen: the plaid.
Will waft good fortune on its way.
I set me down and greet my fill On chieftains long perish’d my
And hours so sweet, so bright, so gay,
And ay I wish him back again. memory ponder’d
Will waft good fortune on its way.
As daily I strode thro’ the pine cover’d
Up! Time will tell, the friar’s bell
REFRAIN glade.
Its service sound hath chimed well;
I sought not my home till the day’s
The aged crone keeps house alone,
O where some villains hangit high, dying glory
And reapers to the fields are gone:
And ilka body had their ain!
108

Gave place to the rays of the bright REFRAIN SOLO

Polar star. Confound their polities,
For fancy was cheer’d by traditional And there ‘s a hand, my trusty fiere! frustrate their Knavish tricks,
story, And gie ‘s a hand o’ thine! on thee our hopes we fix,
Disclos’d by the natives of dark And we’ll take a right gude‐ God save us all!
Lochnagar! williewaught,
Years have roll’d on, Lochnagar, since I For auld lang syne. CHORUS
left you! Confound their polities,
Years must elapse ere I tread you REFRAIN frustrate their Knavish tricks,
again. on thee our hopes we fix,
Though nature of verdure and flow’rs Robert Burns (1759‐1796) God save us all!
has bereft you,
Yet still are you dearer than Albion’s 12. THE QUAKER’S WIFE SOLO
plain. Dark was the morn and black the sea, Thy choicest gifts in store,
England, thy beauties are tame and When my dear laddie left me, on him be pleased to pour,
domestic The swelling sails how swift they flee, long may he reign!
To one who has rov’d on the Of all my joy bereft me!
mountains afar Methinks I see him take his stand CHORUS
O! for the crags that are wild and On deck so firm and steady; Thy choicest gifts in store,
majestic, And distant when he wav’d his hand, on him be pleased to pour,
The steep frowning glories of dark I knew his tartan plaidy. long may he reign!
Lochnagar! Alas! how heavy are the days
In absence and in sorrow, SOLO
Lord George Gordon Noel Byron While war and death a thousand ways May he defend our laws,
Still make me dread tomorrow. and ever give us cause,
10. GLENCOE O that ambition were at rest, to sing, with heart and voice,
Oh! Tell us, Harper, where fore flow While I, the captain’s lady, God save the King!
Thy wayward notes of wail and woe Should with my soldier be so blest,
Far down the desert of Glencoe, All gay in tartan plaidy! CHORUS
Where non may list their melody?
May he defend our laws,
Say, harp’st thou to the mists that fly, Anonymous
and ever give us cause,
Or to the dun deer glancing by,
to sing, with heart and voice,
And to the eagle, that from high
God save the King!
Screams chorus to thy minstrelsy? TWELVE SONGS OF VARIOUS
The hand that mingled in the meal, NATIONALITY WoO157, COMPLETE Henry Carey
At midnight drew the felon steel, for one to three solo voices, mixed
And gave the host’s kind breast to feel, chorus, violin, violoncello and piano 14. THE SOLDIER Irish
Meed for his hospitality. Then, Soldier! Come fill high the wine,
The friendly hearth which warm’d that 13. GOD SAVE THE KING! English For we reck not of tomorrow,
hand, SOLO Be ours to day and we resign
At midnight arm’d it with a brand God save our Lord the King! All the rest to the fools of sorrow.
That bade destruction’s flames expand Long live our gracious King! Gay be the hour till we beat to arms
Their red and fearful blazonry. God save the King! Then camrade Death or Glory;
Long have my harp’s best notes been ‘Tis Victory in all her charms,
gone, CHORUS Or ‘tis Fame in the worlds bright story.
Few are its strings, and faint their God save our Lord the King! ‘Tis you ‘tis I that my meet the ball;
tone, Long live our gracious King! And me it better pleases
They can but sound in desert lone God save the King! In battle, with the brave to fall,
Their grey hair’d master’s misery. Than to die of dull diseases;
Were each grey hair a minstrel string, SOLO Driveller to e in my fireside chair
Each chord should imprecations fling, Send him victorious, With saws and tales unheeded;
’Till startled Scotland loud should ring, happy and glorious, A tottering thing of aches and care
“Revenge for blood and treachery!” long to reign over us, No longer lov’d nor needed.
God save the King! But thou oh dark is thy flowing hair,
Sir Walter Scott And thine eye with fire is streaming,
CHORUS And o’er thy cheek, thy looks, thine air,
11. AULD LANG SYNE Send him victorious, Sits health in triumph beaming.
Should auld acquaintance be forgot happy and glorious, Thou, brother soldier fill the wine,
And never brought to mind? long to reign over us, Fill high to love ad beauty;
Should auld acquaintance be forgot, God save the King! Love, friendship honour, all are thine,
And auld lang syne! Thy country and thy duty.
SOLO
REFRAIN: O Lord, our God, arise, William Smyth (1765‐1849)
For auld lang syne, my dear, scatter his enemies
For auld lang syne, and make them fall! 15. CHARLIE IS MY DARLING Scottish
We’ll tak’ a cup o’ kindness yet REFRAIN:
For auld lang syne. CHORUS O Charlie is my darling,
O Lord, our God, arise, My darling, my darling;
And surely you’ll be your pint stowp! scatter his enemies O Charlie is my darling,
And surely I’ll be mine! and make them fall! The young chevalier.
And we’ll take a cup o’kindness yet,
For auld lang syne.
109

‘Twas on a Monday morning, rich notes of rapture pealing. REFRAIN:

When birds were singing clear; That high the choral burden bear, O for him back again,
That Charlie to the Highlands came, their names with honours hailing. O for him back again,
The gallant chevalier. I wad gie a Knockhaspie’s land
19. ROBIN ADAIR Irish For Highland Harry back again!
REFRAIN Since all thy vows, false maid, are
blown to air, CHORUS:
And many a gallant Scottish chief, And my poor heart betray’d to sad O for him back again,
Came round their Prince to cheer, despair, O for him back again,
That Charlie was their darling, Into some wilderness, I wad gie a Knockhaspie’s land
The young chevalier. My grief I will express For Highland Harry back again!
And thy hard heartedness, When a’ the lave gae to their bed,
REFRAIN O cruel Fair! I wander dowly up ghe glen;
They wou’d na bide to chase the roes Some gloomy place I’ll find, some I set me down and greet my fill,
Or start the nountain deer; doleful shade, And ay I wish him back again.
But aff they march’d wi’ Charlie, Where neither sun nor wind e’er
The galant chevalier. entrance had: REFRAIN
Into that hollow cave,
REFRAIN There will I sigh and rave, CHORUS
Because thou dost behave
16. O SANCTISSIMA! Sicilian So faithlessly. O were some villains hangit high,
O Sanctissima, And when a ghost I am, I’ll visit thee: And ilka body had their ain!
O piissima O thou deceitful dame, whose cruelty Then I might see the joyfu’ sight,
Dulcis Virgo Maria! Has kill’d the kindest heart My Highland’s Harry back again.
Mater amata, That e’er felt Cupid’s dart,
Intemerata, And never can desert REFRAIN
Ora! Ora pro nobis! From loving thee.
CHORUS
17 THE MILLER OF DEE English 20. BY THE SIDE OF THE SHANNON
There was a jolly miller once, Irish Robert Burns (1759‐1796)
Lived on the river Dee; By the side of the Shannon was laid a
He work’d and sang from morn till young Lover, 22. SIR JOHNNIE COPE
night, “I hate this dull river” he fretfully cried; Sir Johnnie Cope trod the North right
No lark more blythe than he; “Yon tempest is coming this willow my far,
And this the burden of his song cover, Yet ne’er a rebel he came n’ar;
For ever used to be: How sultry the air, not a zephyr”, he Until he landed at Dunbar,
I care for nobody, no not I, sigh’d. Right early in a morning.
If nobody cares for me! “Go, bee! Get along why so idly Cope wrote a challenge from Dunbar,
The reason why he was so blithe, remaining, Come meet me, Charlie, if you dare,
He once did thus unfold: For here are no roses thou trouble If it be not by the chance of war,
The bread I eat my hands have earn’d; some thing! I’ll gi’e you a merry morning.
I covet no man’s gold; Peace nightingale! Peace to that ditty
I do not fear next quarter day; complaining REFRAIN:
In debt to none I be, Oh can it be thus that these Hey Johnnie Cope are ye wauking yet,
I care for nobody, no, not I, nightingales Or are ye sleeping, I wou’d wit.
If nobody cares for me. sing?” Make haste and get up, for the drums
So let us his example take, But now a light form with a smile do beat,
And be from malice free; archly playing, O fie, Cope rise in the morning!
Let every one his neighbour serve, All beaming in beauty, before him
As served he’d like to be. appear’d. When Charlie look’d the letter on,
And merrily push the can about, “ O Ellen!” he cried, “why thus He drew his sword the scabbard from:
And drink and sing with glee: strangely delaying, “So heav’n restore me to my own,
If nobody cares a doit for us, My dearest, my Ellen, what have I not I’ll meet you, Cope, in the morning.”
Why not a doit care we. fear’d.” But when he saw the Higland lads,
And then so majestic the Shannon Wi’ tartan trews and white cockades,
18. A HEALTH TO THE BRAVE John came flowing, Wi’ swords and guns, and rungs, and
Dovaston The bee flew unchided the blossoms gauds,
A health to the brave, in fields afar among, Johnnie, he could win in the morning.
sweet Freedom’s foes assailing; The sky was serene, and the zephyrs
And high the choral burden bear, soft blowing, REFRAIN
their names with honours hailing. And oh! Howe enchanting the
What meed awaits, the fallen brave? nightingale’s song! O’ then he flew into Dunbar,
A nation’s tears to dew them, crying for a Man o’War,
and bars the blooming flowers to William Smyth (1765‐1849) he thought to have passed for a rustic
weave, tar,
and virgin hands to strew them. 21. HIGHLANDER’S LAMENT Scottish and gotten away in the morning.
But what their meed to whom returns My Harry was a gallant gay, Says Lord Mark‐Carr ye are nae blate,
in triumph’s car is granted? Fu’stately strade he on the plain; tae bring us the news o’ yer ain defeat,
Beside their comrade’s laurel’d urn, But now he’s banish’d far away, I think you deserve the back o’ the
to see the olive planted. I’ll never see him back again. gate,
To hear the good, the great, the fair, get out o’my sight this morning.
110

REFRAIN Contemplando fisso fisso bears those bright hues that once it

Le fatezze del mio ben, bore;
Old Jacobite song Quel viseto cussi slisso, tho’ Ev’ning, with her richest dye,
Quela boca e quel bel sen; flames o’er the hills on Ettrick’s shore.
23. THE WANDERING MINSTREL Irish Me sentiva drento in peto With listless look along the plain,
“I am bow’d down, with years, Una smania, un missiamento, I see Tweed’s silver current glide,
And fast flow my tears, Una spezie de contento And coldly mark the holy fane
But I wander, I mourn not, Che no so come spiegar! Of Melrose rise in ruin’d pride.
Your pity to win: M’ho stufà po’, finalmente, The quiet lake, the balmy air,
’Tis not age, want, or care, De sto tanto so’ dormir, The hill , the stream, the tower, the
I could poverty bear E g’ho fato da insolente, tree,
’Tis the shame of my heart No m’ho avuto da pentir; Are they still such as once they were,
That is breaking within.” Perchè, oh Dio, che bele cosse Or is the dreary change in me?
CHORUS: Che g’ho dito, e che g’ho fato! Alas, the warp’d and broken board,
Thou are bow’d down with years, No, mai più tanto beato How can it bear the painter’s dye?
And fast flow thy tears, Ai me zorni no son stà. The harp of strain’d and tuneless
But why dost thou wander chord,
No pity to win? Antonio Lamberti How to the minstrel’s skill reply?
Were it age, were it care, To aching eyes each landscape lowers,
We could soothe, we could share, To feverish pulse each gale blows chill:
But what is the shame And Araby’s or Eden’s bowers,
Thy sad bosom within? CD85 Were barren as this moorland hill.
25 SCOTTISH SONGS OP.108
“Oh, if thou should’st hear Sir Walter Scott (1771‐1832)
From splendour’s high sphere 1. MUSIC, LOVE AND WINE
The sorrow, the tale, O let me Music hear 3. O SWEET WERE THE HOURS
Which these notes may convey! Night and Day! O sweet were the hours
Think, think of past hours, Let the voice and let the Lyre When in mirth’s frolic throng
Thy dear native bowers, Dissolve my heart, my spirit’s fire; I led up the revels
And turn not, my love, Music and I ask no more, With dance and with song;
From thy father away.” Night or Day! When brisk from the fountain
Hence with colder world, And bright as the day,
CHORUS: Hence, Adieu! My spirits o’erflow’d
’Tis from Erin so dear Give me. Give me but the while, And ran sparkling away!
The lay that we hear, The brighter heav’n of Ellen’s smile, Wine! Wine! Wine!
Then welcome tha minstrel Love and then I ask no more, Come bring me wine to cheer me,
And welcome the lay: Oh, would you? Friend of my heart!
But where are the bowers, Hence with this world of care Come pledge me hig!
And what are the hours, I say too; Wine! Till the dreams of youth
And where is the daughter Give me but the blissful dream, Again are near me,
That wander’d away? That mingles in the goblet’s gleam, Why must they leave me,
Wine and then I ask no more, Tell me, why?
“What peace thou hast known, What say you? Return, ye sweet hours!
Since from me thou hast flown! Music may gladden Wine, Once again let me see
And, Eveleen, think What say you? Your airly light forms
But how wretched am I! Tendrils of the laughing Vine Of enchantment and glee;
O let me but live Around the Myrtle well may twine, Come, give an old friend,
Thy fault to forgive, Both may grace the Lyre divine, While he crowns his gay glass,
Again let me love thee, What say you? A nod as you part
And bless thee, and die!” What if we all agree, And a smile as you pass
What say you? I cannot forget you,
CHORUS: I will list the Lyre with thee, I would not resign,
O cease then thy song, And he shall dream of Love like me, There’s health in my pulse,
She has languished too long; Brighter than the wine shall be, And a spell in my wine;
She hoped not thy smile What say you? And sunshine in Autumn,
Of forgiveness to see: Tho’ passing too soon,
She sunk at the word, REFRAIN Is sweeter and dearer
Thy voice when she heard Love, Music, wine agree, Than sunshine in June.

And she lives (if she lives) True, true, true! William Smyth (1765‐1849)
But for virtue and thee. Round then round the glass, the glee,
And Ellen in our toast shall be! 4. THE MAID OF ISLA
William Smyth (1765‐1849) Music, wine and Love agree, O, Maid of Isla, from the cliff,
True, true, true! That looks on troubled wave and sky,
24. LA GONDOLETTA Venetian
Dost thou not see yon little skiff
La Biondina in gondoletta William Smyth (1765‐1849)
Contend with ocean gallantly?
L’altra sera g’ho menà:
Now beating ‘gainst the breeze and
Dal piaser la povereta, 2. SUNSET
surge,
La s’ha in bota indormenzà. The sun upon the Weirdlaw hill,
And steep’d her leeward deck in foam,
La dormiva su sto brazzo, in Ettrick’s vale is sinking sweet;
Why does she war unequal urge? ‐
Mi ogni tanto la svegiava, the westland wind is hush and still,
O, Isla’s maid, she seeks her home.
Ma la barca che ninava the lake lies sleeping at my feet.
O, Isla’s maid, yon sea‐bird mark,
La tornava a indormenzar. Yet not the landscape to mine eyes
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Her white wing gleams through mist My heart it seem’d bursting 9. BEHOLD MY LOVE HOW GREEN THE

and spray, On that fatal day, GROVES
Against the storm‐cloud, lowering When the fast less’ning sail Behold, my love, how green the
dark, Bore my William away. groves,
As to the rock she wheels away; ‐ Lament him, ye fair, The primrose banks how fair;
Where clouds are dark and billows And lament him, ye brave, The balmy gales awake the flowers,
rave, Though unshrouded he lies, And wave thy flowing hair.
Why to the shelter should she come And the sea is his grave; The lav’rock shuns the palace gay,
Of cliff, exposed to wind and wave? ‐ For the kind and true hearted, And o’er the cottage sings:
O, maid of Isla, ‘tis her home. The gallant and gay, For Nature smiles as sweet, I ween,
As breeze and tide to yonder skiff, Lament, for my William’s To Shepherds as to Kings.
Thou’rt adverse to the suit I bring, For ever away. Let minstrels sweep the skilfu’ string,
And cold as is yon wintry cliff, In lordly lighted ha’:
Where sea‐birds close their wearied possibly by William Browne (1591‐ The Shepherd stops his simple reed,
wing. c1643) Blythe in the birken shaw.
Yet cold as rock, unkind as wave, The Princely revel may survey
Still, Isla’s maid, to thee I come; 7. BONNIE, LADDIE, HIGHLAND Our rustic dance wi’ scorn;
For in thy love, or in his grave, LADDIE But are their hearts as light as ours,
Must Allan Vourich find his home. Where got ye siller moon, Beneath the milk‐white thorn!
Bonny laddie, highland laddie, The shepherd, in the flowery glen;
Sir Walter Scott (1771‐1832) Glinting braw your belt aboon, In shepherd’s phrase, will woo:
Bonny laddie, highland laddie? The courtier tells a finer tale,
5. THE SWEETEST LAD WAS JAMIE Belted plaid and bonnet blue, But is his heart as true!
The sweetest lad was Jamie, Bonny laddie, highland laddie, These wild‐wood flowers I’ve pu’d, to
The sweetest, the dearest, Have ye been at Waterloo, deck
And well did Jamie love me, Bonny laddie, highland laddie? That spotless breast o’ thine:
And not a fault has he. Weels me on your tartan trews, The courtiers’ gems may witness love,
Yet one he had, it spoke his praise, Bonny laddie, highland laddie, But, ’tis na love like mine.
He knew not woman’s wish to teaze, Tell me, tell me a’ the news,
He knew not all our silly ways, Bonny laddie, highland laddie! Robert Burns (1759‐1796)
Alas! The woe to me! Saw ye Boney by the way,
For though I loved my Jamie, Bonny laddie, highland laddie, 10. SYMPATHY
Sincerely and dearly, Blucher wi’ his beard sae grey, Why, Julia, say, that pensive mien?
Yet often when he wooed me, Bonny laddie, highland laddie? I heard thy bosom sighing;
I held my head on high; Or, the doure and deadly Duke, How quickly on they cheek is seen
And huffed and toss’d with saucy air, Bonny laddie, highland laddie, The blush, as quickly flying!
And danc’d with Donald at the fair, Scatt’ring Frenchmen wi’his look, Why mark I, in thy soften’d eye,
And plac’d his ribbon in my hair Bonny laddie, highland laddie! Once with light spirit beaming,
And Jamie! Pass’d him by. Some say he the day may rue; A silent tear I know not why,
So when the war‐pipes sounded, Bonny laddie, highland laddie, In trem’lous luster gleaming?
Dear Jamie, he left me, You can till gin this be true, Come, tell me all thy bosom pain:
And now some other maiden Bonny laddie, highland laddie. Perhaps some faithless lover?
Will Jamie turn to woo. Would ye tell me gin ye ken, Nay, droop non thus, the rose with
My heart will break, and well it may, Bonny laddie, highland laddie, rain
For who would word of pity say Aught o’ Donald and his men, May sink, yet still recover.
To her who threw a heart away, Bonny laddie, highland laddie? O Julia! My words recall,
So faithful and so true! Tell me o’my kilted Clan, My thoughts too rud’ly guide me;
Oh! Knew he how I loved him, Bonny laddie, highland laddie, I see afresh thy sorrows fall,
Sincerely and dearly; Gin they fought, or gin they ran, They seem to plead and chide me.
And I would fly to meet him! Bonny laddie, highland laddie? I too, the secret would have known,
Oh! Happy were the day! That makes existence languish,
Some kind, kind friend, oh, come James Hogg (1770‐1835) Links to the soul on thought alone,
between, And that, a thought of anguish;
And tell him of my alter’d mien! 8. THE LOVELY LASS OF INVERNESS Forgive, forgive, an aching heart,
That Jeanie has not Jeanie been The lovely lass o’ Inverness, That vainly hoped to cheer thee
Since Jeamie went away. Nae joy nor pleasure can she see; These tears may tell thee, while they
For e’en and morn she cries, Alas! start,
William Smyth (1765‐1849) And ay the saut tear blins her e’e: How all thy grief endear thee!
Drumossie moor, Drumossie day,
6. DIM, DIM IS MY EYE A waefu’ day it was to me; William Smyth (1765‐1849)

Dim, dim is my eye,
For there I lost my father dear,
As the dew‐drop once clear, 11. OH! THOU ART THE LAD OF MY
My father dear and brethren three!
Pale, pale is my cheek, HEART
Their winding‐sheet the bludy clay,
Ever wet with the tear Oh! Thou art the lad of my heart, Willy,
Their graves are growing green to see;
And heavily heaves There’s love and there’s life and glee,
And by them lies the dearest lad
This soft breast, once so gay, There’s a cheer in thy voice, and thy
That ever blest a woman’s e’e!
For William, my true love, bounding step,
Now wae to thee, thou cruel lord,
My William away! And there’s bliss in thy blithesome ee.
A bludy man I trow thou be;
Sad. Sad was the hour, But, oh, how my heart was tried, Willy,
For mony a heart thou has made sair
When he bade me adieu, For little I thought to see,
That ne’er did wrang to thine or thee!
While he hung on my bosom,
That the lad who won the lasses all,
And vow’d to be true; Robert Burns (1759‐1796) Would ever be won by me.
112

Adown this path we came, Willy, And let’s be merry and mellow, Did he know but how we fare,

T’was just at this hour of eve; And let us have one bottle more. He’d shield me in his arms
And will he or will he not, I thought, When warm the heart is flowing, From this bitter piercing air.
My fluttering heart relieve? And bright the fancy glowing, Cold, cold, my dearest jewel!
So oft as he paused, as we saunter’d Oh, shame on the dolt would be going, Thy little life is gone!
on, Nor tarry for one bottle more! O let my tears receive thee,
T’was fear and hope and fear; So warm that trickle down!
But here at the wood, as we parting REFRAIN: My tears that gush so warm,
stood, Come fill ... Oh, they freeze before they fall,
T’was rapture his vows to hear! My Heart, let me but lighten, Ah, wretched, wretched mother
Ah vows so soft thy vows, Willy! And Life, let me but brighten, Thou art now bereft of all!
Who would not, like me, be proud! And Care, let me but frighten. Then down she sunk despairing
Sweet lark! with thy soaring echoing Upon the drifted snow,
song, He’ll fly us with one bottle more! And, wrung with killing anguish,
Come down from thy rosy cloud. By day, tho’ he confound me, Lamented loud her woe.
Come down to thy nest, and tell thy When friends at night have found me, She kiss’d her baby’s pale lips
mate, There is Paradise around me And laid by her side;
But tell thy mate alone, But let me have one bottle more! Then cast her eyes to heaven,
Thou hast seen a maid, whose heart of REFRAIN Then bow’d her head, and died.
love,
Is merry and light as thine own. So now, here’s to the Lasses! Alexander Ballantyne

See, see, while the toast passes,
William Smyth (1765‐1849) How it lights up beaming glasses! 16. COULD THIS ILL WORLD HAVE
Encore to the Lasses, encore. BEEN CONTRIV’D
12. O, HAD MY FATE BEEN JOIN’D We’ll toast the welcome greeting Could this ill world have been contriv’d
WITH THINE Of hearts in union beating. to stand without that mischief,
Oh, had my fate been join’d with thine, And oh! For our next merry meeting, woman,
As once this pledge appear’d a token; Huzza! Then for one bottle more! how peaceful bodies wou’d have liv’d,
These follies had not then been mine, releas’d frae a’ the ills sae common!
For then my peace had not been REFRAIN But since it is the waefu’ case,
broken! that man must have this teasing crony,
To thee these early faults I owe, William Smyth (1765‐1849) why such a sweet bewitching face?
To thee the wise and old reproving; Oh! had they no been made sae
They know my sins, but do not know 14. O, HOW CAN I BE BLITHE AND bonny!
‘Twas thine to break the bands of GLAD I might have roam’d wi’ cheerful mind,
loving. O how can I be blythe and glad, nae sin nor sorrow to betide me,
For once my soul like thine was pure, Or how can I gang brisk and braw, as careless as the wand’ring wind,
And all its rising fires could smother; When the bonie lad that I lo’e best as happy as the lamb beside me.
But now thy vows no more endure, Is o’er the hills and far awa! I might have screw’d my tuneful pegs,
Bestow’d by thee upon another! It’s no the frosty winter wind, and carol’d mountain airs fu’ gayly,
Perhaps his peace I could destroy It’s no the driving drift and snaw; had we but wanted a’ the Megs,
And spoil the blisses that await him; But aye the tear comes in my e’e, wi’ glossy e’en sae dark and wily.
Yet let my rival smile in joy To think on him that’s far awa. I saw the danger, fear’d the dart,
For thy dear sake I cannot hate him. My father pat me frae his door, the smile, the air, and a’ sae taking,
Yes, once the rural scene was sweet, My friends they hae disown’d me a’; yet open laid my wareless heart,
For nature seem’d to smile before But I hae ane will tak my part, and got the wound that keeps me
thee: The bonie lad that’s far awa. waking.
And once my heart abhorr’d deceit, A pair o’ glooves he bought to me, My harp waves on the willow green,
For then it beat but to adore thee, And silken snoods he gae me twa; of wild witch notes it has nae ony,
But now I ask for other joys, And I will wear them for his sake, sinc’ e’er I saw that pawky quean,
To think would drive my soul to The bonie lad that’s far awa. sae sweet, sae wicked, and sae bonny.
madness. O weary Winter soon will pass,
In thoughtless throngs and empty And Spring will cleed the birken shaw; James Hogg (1770‐1835)
noise, And my young babie will be born,
I conquer half my bosom’s sadness. And he’ll be hame that’s far awa. 17. O MARY, AT THY WINDOW BE
Yet even in these a thought will steal, O Mary, ye’s be clad in silk,
In spite of every vain endeavour; Robert Burns (1759‐1796) , “The Bonie And diamonds in your hair,
And fields might pity what I feel, Lad That’s Far Awa”, 1788 Gin ye’ll consent to be my bride
To know that thou art lost for ever. Nor think on Arthur mair.
Then, fare thee well, deceitful Maid, 15. O CRUEL WAS MY FATHER Oh, wha wad wear a silken gown,
‘Twere vain and fruitless to forget O cruel was my father Wi’ tears blinding their ee?
thee: That shut the door on me. Before I’ll break my true love’s heart,
Nor hope, nor memory, yeld their aid, And cruel was my mother I’ll lay me down and die.
But pride may teach me to forget thee. That such a thing could see. For I have pledg’d my virgin troth,
by George Gordon Noel Byron, And cruel is the wintry wind Brave Arthur’s fate to share,
That chills my heart with cold. And he has gi’en to me his heart
Lord Byron (1788‐1824) , “To a lady” But crueler than all , the lad, Wi’ a’ its virtues rare.
That left my lovely Baby, The mind whose every wish is pure,
13. COME FILL, FILL, MY GOOD nd warm thee in my breast. Far dearer is to me,
FELLOW Ah! Little thinks thy father And e’er I’m forced to break my faith,
Come fill, fill, my good fellow! How sadly we’re distrest, I’ll lay me down and die.
Fill high, high, my good Fellow, For cruel as he is, So trust me when I swear to thee,
113

By a’ that is on high, REFRAIN: At market and at fair;

Thoug, ye had a’this warld’s gear, We cast our lines in Largo Bay, Nor near the thorn‐tree meet him,
My heart ye couldna buy; Our nets are floating wide, At evening, I suppose,
For langest life can ne’er repay, Our bonny boat with yielding sway Nor in the morning greet him,
The love he bears to me; Rocks lightly in the tide. As by the door he goes.
And e’er I’m forced to break my troth, Amd happy prove our daily lot Nor at the kirk perceive him,
I’ll lay me down and die. Upon the summer sea, But ponder on my book;
And blest on land our kindly Cot With downcast eyes deceive him,
18. ENCHANTRESS, FAREWELL Where all our treasures be. Tho’ stealing oft a look.
Enchantress, farewell, who so oft hast The mermaid on her rock may sing, Alas! How long must nature
decoy’d me, The witch may weave her charm, This cruel war maintain?
At the close of the evening through Nor watersprite nor eldritch thing Content in every feature,
woodlands to roam, The bonny boat can harm. While writhes my heart with pain?
Where the forester, ‘lated, with It safely bears its scaly store O William, dost thou love me?
wonder espied me Thro many a storm gale, Oh! Sure I need not fear;
Explore the wild scenes he was While joyful shouts rise from the How, dearest, would it move thee
quitting for home. shore, To see this falling tear!
Farewell and take with thee thy Its homeward prow to hail. Too heedless, thoughtless lover,
numbers wild speaking From what thyself must feel,
The language alternate of rapture and Joanna Baillie (1762‐1851) Why canst thou not discover,
woe: What Jeanie must conceal?
Oh! none but some lover, whose 20. FAITHFU’ JOHNIE
heartstrings are breaking When will you come again, ma faithfu’ William Smyth (1765‐1849)
The pang that I feel at our parting can Johnie,
know. When will you come again? 22. THE HIGHLAND WATCH
Each joy thou couldst double, and “When the corn is gathered, Old Scotia, wake thy mountain strain
when there came sorrow, And the leaves are withered, In all its wildest splendours!
Or pale disappointment to darken my I will come again, ma sweet and And welcome back the lads again,
way, bonny, Your honour’s dear defenders!
What voice was like thine, that could I will come again.” Be every harp and viol strung’,
sing of tomorrow, Then will you meet me here, ma Till all the woodlands quaver:
Till forgot in the strain was the grief of faithfu’ Johnie, Of many a band your Bards have sung,
today! Then will you meet me here? But never hail’d a braver.
But when friends drop around us in “Though the night were Hallowe’en,
life’s weary waning, When the fearfu’ sights are seen, REFRAIN:
The grief, Queen of Numbers, thou I would meet thee here, ma sweet and Then raise the pibroch, Donald Bane,
canst not assuage; bonny, We’re all in key to cheer it;
Nor the gradual estrangement of those I would meet thee here.” And let it be a martial strain,
yet remaining, O come na by the muir, ma faithfu’ That warriors bold may hear it.
The languor of pain, and the chillness Johnie,
of age. O come na by the muir. Ye lovely maids, pitch high your notes
‘Twas thou that once taught me, “Though the wraiths were glist’ning As virgin voice can sound them,
accents bewailing, white Sing of your brave, your noble Scots,
To sing how a warrior I lay stretch’d on By the dim elf‐candles’ light For glory kindles round them.
the plain, I would come to thee, ma sweet and Small is the remnant you will see,
And a maiden hung o’er him with aid bonny, Lamented be the others!
unavailing, I would come to thee.” But such a stem of such a tree,
And held to his lips the cold goblet in And shall we part again, ma fathfu’ Take to your arms like brothers.
vain; Johnie?
As vain thy enchantments, O Queen of Shall we part again? REFRAIN:
wild Numbers “So lang’s my eye can see, Jean, Raise high the pibroch, Donald Bane,
To a bard when the reign of his fancy is That face so dear to me Jean, Strike all our glen with wonder;
o’er, We shall not part again, ma sweet and Let the chanter yell, and the drone
And the quick pulse of feeling in bonnie, notes swell,
apathy slumbers We shall not part again.” Till music speaks in thunder.

Farewell, then, Enchantress I’ll meet
possibly by William Smyth (1765‐1849) What storm can rend your mountain
thee no more!
“Faithfu’ Johnie” possibly by Anne rock,
Sir Walter Scott (1771‐1832) , Grant , “Faithfu’ Johnie” What wave your headlands shiver?
“Farewell to the Muse” Long have they stood the tempest’s
21. JEANIE’S DISTRESS shock,
19. O SWIFTLY GLIDES THE BONNY By William late offended, Thou knowst they will for ever.
BOAT I blam’d him, I allow Sooner your eye these cliffs shall view
O swiftly glides the bonny boat And then my anger ended, Split by the wind and weather,
Just parted from the shore, And he is angry now. Than foeman’s eye the bonnet blue
And to the fisher’s chorus note And I in turn am chided, Behind the nodding feather.
Soft moves the dipping oar. For what I ne’er design’d;
His toils are borne with happy cheer And tho’by love misguided, REFRAIN:
And ever may they speed, Am call’d myself unkind. O raise the pibroch, Donald Bane,
That feeble age and helpmate dear So now, when I am nigh him, Our caps to the sky we’ll send them.
And tender bairnies feed. y looks must coldness wear;
They tell me I must fly him
114

Scotland, thy honours who can stain, When she is by, I leave my work, Und da gras’ ma in den Klee

Thy laurels who can rend them! I love her so sincerely; Ei, ai, ei, a.
My master comes like any Turk, Schwaigrin, du bist mein Freud,
James Hogg (1770‐1835) And bangs me most severely: Ai, ei, ei, a,
But let him bang his bellyful, Wann i’s Vieh auf d’Alma treib,
23. THE SHEPHERD’S SONG I’ll bear it all for Sally; Ai, ei, ei, a,
The gowan glitters on the sward, She is the darling of my heart, Und aft’n tun ma’s Kuhla malcha*,
The lavrock’s in the sky, And she lives in our alley. Und da krieg’n ma gute Kalma*,
And Colley on my plaid keeps ward, Of all the days that’s in the week, Treib’n mirs abi zu den Stier
And time is passing by. I dearly love but one day, Ei, ai, ei, a.
Oh no! Sad and slow! And that’s the day that comes Wann der Holda* blast ins Horn,
I hear nae welcome sound! between Ai, ei, ei, a,
The shadow of our trysting bush, The Saturday and Monday, Treib’n ma’s Kuhla von den Barn*
It wears so slowly round. For then I’m drest all in my best Ai, ei, ei, a,
My sheepbell tinkles frae the west, To walk abroad with Sally. Tun ma’s Kuhla von den Barn*,
My lambs are bleating near, She is the darling of my heart Ai, ei, ei, a,
But still the sound tha I lo’e best, And she lives in our alley. Tun ma’s Kuhla abi streicha,
Alack! I canna hear. My master carries me to church, Und die Milli zamma seicha,
Oh no! Sad and slow! And often am I blam’d Aft’n treib’n mir’s hin zum Bach,
The shadow lingers still, Because I leave him in the lurch Ei, ai, ei, a.
And like a lonely ghaist I stand As soon as text is nam’d; Schwaigrin, bring den Sechta* her,
And croon upon the hill. I leave the church in sermon‐time Ai, ei, ei, a,
I hear below the water roar, And slink away to Sally; ’s Kuhla gibt uns Milli mehr,
Th mill wi’ clakkin’ din, She is the darling of my heart, Ai, ei, ei, a,
And Lukky scolding frae her door, And she lives in our alley. Kann ma’s Kuhla nimmer malcha,
To bring the bairnies in, When Christmas comes about again, Aft’n krieg’n ma gute Kalma,
Oh no! Sad and slow! O, then I shall have money; ’s Kuhla gibt uns Milli mehr,
These are nae sounds for me; I’ll hoard it up, and box it all, Ei, ai, ei, a.
The shadow of a trysting bush, I’ll give it to my honey:
It creeps sae drearily. I would it were ten thousand pound, * Notes:

I’d give it all to Sally; Schwaigrin = Sennerin
Joanna Baillie (1762‐1851)
She is the darling of my heart, Michel = der zweite Kuhbub

And she lives in our alley. Kuhla malcha = Kuh melken
24. AGAIN, MY LYRE
My master and the neighbours all Kalma = Kälbchen
Again my lyre, yet once again!
Make game of me and Sally, Holda = Hüter
With tears I wake thy thrilling strain
And but for her I’d better be Barn = Futterkrippe
O sounds to sacred sorrow dear,
A slave, and row a galley; Sechta = Eimer
I weep, but could for ever hear!
But when my seven long years are out,
Ah! cease! nor more past scenes recall,
Oh! Then I’ll marry Sally; 28. NO.7 WER SOLCHE BUEMA
Ye plaintive notes! thou dying fall!
She is the darling of my heart AFIPACKT Tyrolean
For lost, beneath thy lov’d control,
And she lives in our alley. Wer solche Buema afipackt
Sweet Lyre! is my dissolving soul. Die steckt ma auf an Hut,
Around me airy forms appear, Henry Carey (1693?‐1743) A Bua, der kani Federn tragt,
And Seraph songs are in mine ear! Der hat ka Federn tragt,
Ye Spirits blest, oh bear away Der hat ka Feur im blut.
To happier realms my humble lay! 27 SONGS OF VARIOUS Drum denk an den Tyroler Bua
For still my Love may deign to hear NATIONALITIES Und hält dein weite Goschen zu.
Those human notes that once were (27 LIEDER VERSCHIEDENER VÖLKER),
dear! WoO158/1 (SELECTION) From Jakob Haibel’s Singspiel “Der
And still one angel sigh bestow Tyroler Wastl”
On her who weeps, who mourns 26. NO.1 RIDDER STIGS RUNER Danish
below. Ridder Stig tjener i Kongens Gaard, 29. NO.8 IH MAG DI NIT NEHMA, DU

Fruer og Jomfruer de børste hans TÖPPETER HECHT Tyrolean
William Smyth (1765‐1849)
Haar. Ih mag di nit nehma,

Jomfruer, I giver os Orlov Du töppeter Hecht,
25. SALLY IN OUR ALLEY
Ridder Stig skjaenker for Bord i Stove, Du darfst mir nit komma,
Of all the girls that are so smart,
Liden Kirstin laa hanom hart I Hove. Du warst mir viel z’schlecht;
There’s none like pretty Sally!
Jomfruer, I giver os Orlov Und du willst mei Mann sein,
She is the darling of my heart,
“De ter syv Aar siden, jeg Runer nam, Du städtishcer Aff,
And she lives in our alley!
Aften skall jeg prøve, om de due Was fallt dir nit no ein,
There’s not a lady in the land That’s
kann.“ Du törischer Laff.
half so sweet as Sally,
Jomfruer, I giver os Orlov Du talketer Jodel*,
She is the darling of my heart
Z’was brauchest a Weib,
And she lives in our alley.
27. NO.4 WANN I IN DER FRÜH Du hast ja* a Sodel
Her father he makes cabbage nets,
AUFSTEH Tyrolean Koan Saft mehr in Leib;
And through the street does cry’ em;
Wann i in der Früh aufsteh, Bist sü‚ wie a Brue
Her mother she sells laces long
Ai, ei, ei, a, Und sü‚ wie a Vogel,
To such as please to buy’ em
Und zu meiner Schwaigrin* geh, was tat a Weib mit dir.
How could such folks the parents be
Ai, ei, ei, a, Der Tölpel von Passau
Of such a girl as Sally!
Und da nim i glei mei Sichel Ist dein Contrase, *
She is the darling of my heart
Und da gras’ i mit mein Michel*, Du kierst* wie ein Spansau,
And she lives in our alley.
115

Jetzt heb di und geh, 34. NO.14 ACH BÄCHLEIN, BÄCHLEIN, Så ligger man på båren.

Hör auf mit dein Raunzen, KÜHLE WASSER Russian / German Lilla charles skall tänka så,
Das sag ich dir frue, Akh, recen’ki, recen’ki När han se de blommer små,
I steck dir a Faunzen, * Ach Bächlein, Bächlein, kühle Wasser, Som bepryda våren.
Du talketer Bue. ihr Mädchen, Mädchen, ihr bringt uns
zum Weinen, Carl S.Michael Bellman (1740‐1795)
*NOTE bringt zum Weinen den Freund und
Talketer Jodel = törichter Geselle zum Klagen, 37. NO.18 AN Ä BERGLI BIN I GESÄSSE
Du hast ja = sowieso dass mein Liebster nicht entflieht, weil Swiss
Contrase = Abbild ihn jemand hält. An ä Bergli bin i gesässe,
Du kierst = Du quiekst Sein erstes Liebchen hielt ihn an der Nach die Vögli hab i geschaut:
Faunzen = Ohrfeige Hand, Han gesunge, han gepfiffe,
die zweite, die küsste ihn auf den Han Nestli dran gebaut.
30. NO.9 OJ, OJ UPIIEM SIE W Mund, Auf ä Wiesli bin i gegange,
KARCZMIE Polish die dritte, die liebe, hat ihn zur Tür Nach die Imbli hab i geschaut:
Oj, oj upiiem si´ karzcmie, begleitet. Han gesummet, han gebrummet,
wyspaiem si´ w sieni, Drei grüne Gärten hat mein Liebster. Han Zelli gebaut.
A °ydki psia juchi, Im ersten ruft der Kuckuck kläglich, In ä Gärtli hab i gestanne,
Kobiaike mi wzieni. im zweiten singt die Lerche laut, Lugt die Schmetterlinge an;
Oj, oj °ydzi kanalije im dritten grünt der Birnbaum froh. Han gesoge, han gepfloge,
Oddajcie kobiaiOj, cem˝e bede nosiui Ein Mädchen unterm Birnbaum sitzt, Gar zu schön hans getan.
Krupy na korzaike sie weint und stöhnt und sinkt zum Da kommt nu mei Hänsli, dem zeig i
Boden nieder, Gar so froh, wie sie es mache,
31. NO.10: POSZIA BABA PO POPIOL sie reibt die Tränen mit dem Tüchlein Und mir lache, mir lache
Polish weg Und machens a so.
Poszia baba po popiói und blickt den Liebsten heimlich öfters
i diabei je utopii. an. 38. NO.20 BOLERO A DUE: COMO LA
Ni popioiu Jeder weiß, dem Liebsten geht es gar MARIPOSA Spanish
ni baby, nicht gut, Como la mariposa soy,
Tylko z baby ja, auch die Jalousien sind nun zu, Que por verte,
dwa szaby. mit schwarzem Flor die Fenster En la luz de tus ojos
behangen. Busco mi muerte.
32. NO.12 SEU LINDOS OLHOS Es gibt kein Begrüßen mehr am Yo no sé si me quieres
Portugese Fenster, O si me olvidas,
Seu lindos olhos kein Kristallglas mehr mit Sólo sé que yo vivo,
Mal que me viram transparenten Blumen. Cuando me miras.
Crucis feriram Eine silberne Karaffe tranken wir mit
Meu coração. dem Liebsten, 39. NO.22 ÉDES KINOS EMLÉKEZET
Se Amor protege tranken, tranken, hielten inne, küssten Hungarian
A chama nossa, uns. Édes kinos emlékezet,
Talvez se mova Oh Badacson’ szürete!
A compaixão. 35. NO.15 UNSERE MÄDCHEN GINGEN Mulatságos gyülekezet,
Vir pode um dia, IN DEN WALD Russian Oh rabságom’ kezdete!
Dia d’encanto, Kak poshli nashi podruzhki v les po Ott tudtammeg, kicsoda Ö,
Qu’em que o pranto jagody guljat’, ’s micsoda a’ szere lem;
Vertido em vão. Veju, veju, veju, veju, v les po jagody Amor’ nyila miként sebzö,
Se Amor alenta guljat’. ’s mi az édes gyötrelem.
Esta esperança Po chjornuju chernichku, po krasnuju Nem ugy mentem, a’ mint jöttem;
Em paz descança zemljanichku, Nagy külömbség volt Köztem,
Meu coraçao. Veju, veju, veju, veju, po krasnu A’ ki valék az elött
zemljanichku. ’S a’ ki lettem, látván Öt.

33. NO.13 IM WALDE SIND VIELE Oni jagod ne nabrali, podruzhen’ku
Magyar Szüretölö Ének (Hungarian
MÜCKLEIN GEBOREN Russian poterjali,
grape‐picking song)
Vo lesochke komarochkov mnogo Veju, veju, veju, veju, podruzhen’ku

urodilos’, poterjali.

Ja ves’ma, krasna devica, tomu Kak poshli nashi podruzhki v les po
40. AIR DE COLIN, FROM LE DEVIN DU
udivilas’. jagody guljat’,
VILLAGE WoO158/C NO.2
Tomu mlada udivilas’, chto mnogo Veju, veju, veju, veju, v les po jagody
Non, non, Colette n’est point
urodilos’, guljat’.
trompeuse,
Mne nel’zja, krasnoj device, v lesu
Elle m’a promis sa foi.
poguljati. 36. NO.17 VAGGVISA Swedish
Peut – elle être l’amoureuse
Ya, devica, vzradovalas’, k okoshku Lilla Carl, sov sött i frid,
D’un autre berger que moi?
brosalas’, Du får tids nog vaka,
Okoshechko otkryvala, molodca Tids nog se vår onda tid Jean‐Jacques Rousseau
vpuskala. Och hennes galla smaka.
Vo lesochke komarochkov mnogo Världen är en sorgeö,
urodilos’, Bäst man andas, skall man dö 41. AIR FRANÇAIS WoO158/D French
Ja ves’ma, krasna devica, tomu Och bli mull tillbaka.
udivilas’. Så är med vår livstid fatt,
Och så försvinna åren:
Bäst man andas godt och gladt,
116

CD86 3. NO.5 I BIN A TYROLER BUA A Madel, a Madel

23 SONGS OF VARIOUS I bin a Tyroler Bua, Ist als wie a Fahn,
NATIONALITIES WoO158A, SELECTION Bin alleweil wohlauf, Die jede Luft bewegt,
for one to two solo voices, violin, Auf d’Madel geh i sakrisch zua, Viel ärger als a Wetterhahn,
violoncello and piano Trag Teppich zum Verkauf, Der sich vom Winde dreht,
Da seh i Madeln schön und rar, Das weiß ich auf ein Haar,
1. NO.2 ARIE DES HEINZENFELD Bald blond, bald schwarz, bald weiß Der Anton ist kein Narr.
“HORCH AUF, MEIN LIEBCHEN” und braun,
Aus das neue sonntagskind So aner gäb i all mei War, Tirolean
Horch auf, mein Liebchen, ich bin es, An Troler is nit z’traun,
gugu, I bin a Tyroler Bua, 5. NO.11 YO NO QUIERO
ach, gar ein herrliches Mädchen bist Bin alleweil wohlauf, EMBARCARME
du. Auf d’Madel geh i sakrisch zu, Yo no quiero embarcarme,
Ach komm nur, mein Kindchen, komm Trag Teppich zum Verkauf, Pues es muy cierto
nur heidipritsch, Kommt aber ane Alte her, Que no cuantos návegan
oh komm doch, du kleiner, du herziger Die noch die Liebeshitzen kriegt, Llegan al puerto.
Gritsch. Da nehm i glei’ an Teppich her Amor que tiene juicio
Ich bin’s, wenn mich nicht dein Öhrlein Und werf ’n ihr übers G’sicht; Poco amor tiene,
erkennt, Tyroler sind halt allweil klug, Que el amor al más cuerdo
Bring dir ein Ständchen auf mein Wann’s kommen in a fremdes Land, Loco le vuelve.
Instrument, Der jungen Madeln kriegens g’nug, Siempre rabio por verte
Ach Herzchen, ach Herzchen, ach Mit Alten war’s a Schand. Y si te veo
willigst du ein, Drum Alte, laß dir d’Lieb vergehn, Nunca puedo decirte
So sollst du in Hinkunft mein Koan T’roler kriegst du dran, Lo que te quiero.
Maultrommel sein. Man darf nur deine Falten sehn,
Der Teufel lauft davon. 6. NO.16 AIR COSAQUE: SCHÖNE
Wenzel Müller Ein altes Weib ist ohne Kraft, MINKA, ICH MUSS SCHEIDEN
I bitt dich, schau und gib an Rua, Schöne Minka, ich muß scheiden!
2. NO.3 ARIE DES HAUSMEISTERS Bist wie a Ruben ohne Saft, Ach, du fühltest nicht das Leiden,
“WEGEN MEINER BLEIB D’FRÄULA” Geh hoam und deck di zua, Fern auf freudenlosen Heiden
Aus das neue sonntagskind Und sollt di d’Liab noch often plag’n, Fern zu sein von dir!
Wegen meiner bleib d’Fräula nur da So folg halt meinem Rat, Finster wird der Tag mir scheinen,
ganz allein, I kann dir gar nichts bessers sag’n: Einsam wird’ ich gehen und weinen;
Wenn d’Trud1 nicht hereinkommt, so Brauch often s’kalte Bad; Auf den Bergen, in den Hainen
will ich was sein, Das ziagt die Hitzen sauber aus, Ruf ’ ich, Minka, dir!
Sie ist gar ein wildes, ein garstiges Tier, Stirbst a nua, was liegt denn dran, Nie werd’ ich von dir mich wenden;
Und wenn sie zu mir kommt, so Sonst kommst du noch ins Narrenhaus, Mit den Lippen, mit den Händen
sutzelts an mir, Um’ne Alte kraht koa Hahn, Werd’ ich Grüße zu dir senden
Drum geh ich Keller und sauf mich voll Drum mag di koa Tyroler Bua, Von entfernten Höhn!
Muts, Bist allweil übel auf, Mancher Mond wird noch vergehen,
So finds doch, wanns her kommt, an Drum halt die alte Goschen zua, Ehe wir uns wiedersehen:
mir noch was Guts. Sonst schlag i di brav drauf. Ach, vernimm mein letztes Flehen:
Wegen meiner kanns kommen, weg’n Bleib mir treu und schön!
meiner kanns gehen, Tirolean Du, mein Olis, mich verlassen?
Wegen meiner bleib d’Fräula nur Meine Wange wird erblassen!
immer da stehn, 4. NO.6 A MADEL, JA A MADEL Alle Freuden werd’ ich hassen,
So ist doch der Hausmeister aus aller A Madel, ja a Madel Die sich freundlich nahn!
Schuld, Ist als wie a Fahn, Ach, den Nächten und den Tagen
So hab die Lisettel und d’Fräula Die jede Luft bewegt, Werd’ ich meinen Kummer klagen;
Geduld, Viel ärger als a Wetterhahn, Alle Lüfte werd’ ich fragen,
Weg’n meiner kann g’schehen, weg’n Der sich vom Winde dreht. Ob sie Olis sahn!
meiner was will, Das hat mir mei Vater gesagt, Tief verstummen meine Lieder,
Wenn d’Trud kommt, so halt sich die Mei Vater, der war ein g’scheider Meine Augen schlag’ ich nieder,
Fräula fein still. Mann, Aber seh’ ich einst dich wieder,
Wegen meiner, weg’n unser, weg’n Wenn oaner etwa Zweifel trägt, Dann wird’s anders sein!
allen, wegen dir, Der schau nur den Anton an; Ob auch all die frischen Farben
Wegen enka steh ich nur als Der Anton, der sagt engs, Deiner Jugendblüte starben:
Schildwach allhier, Und gar auf ein Haar, Ja, mit Wunden und mit Narben
Und kommt auch der Teufel, so weiß Der Anton is’ koa Narr. Bist du, Süßer, mein!
ich kein Wort, Die Madeln, die führen
So nehmts ihn beim Hörndel und Uns an der Nase her, Christoph August Tiedge (Ukrainian)
prügelts ihn fort, Und kommt nur ein andrer Wind,
Weg’n meiner, weg’n unser, weg’n So gilt a der schönste Bua schon a 7. NO.19 BOLERO A SOLO: UNA
Herrn, der verrückt, nichts mehr, PALOMA BLANCA
Gebts acht, daß die Trud enk nicht gar Wie halt Madeln sind. Una paloma blanca
zu stark druckt. Drum hörts mein Rat, und gebts guad Como la nieve
acht, Me ha picado en el pecho,
Wenzel Müller Es ward, wenn Mondschein ist, Como me duele!
Schon mancher zum Schafskopf Mas allá de la vida
*Trud: a blood‐sucking female ghost. g’macht, He de quererte,
der sich nichts träumen ließ; Que amor está en el alma,
Y esa no muere.
117

Dicen que sueño es muerte, 11. OH ONO CHRI! (OH WAS NOT I A the wind,

Mas yo lo niego, WEARY WIGHT!) Scottish The lily lies sleeping thro’ winter’s cold
Pues cuando duermo, vivo, Oh was not I a weary wight! Oh ono hour,
Cuando no, muero. chri! Till the hand of Spring her dark chain
Maid, Wife and Widow in one night, unbind,
8. NO.21 TIRANILLA ESPAÑOLA oh ono chri! And daylight and liberty bless the
La Tirana se embarca When in my soft and yelding arms, oh young flow’r.
De Cádiz para Marsella, ono chri! Erin, O Erin, thy winter is past,
En alta mar la apresó When most I thought him free from And the hope that liv’d thro’it shall
Una balandra francesa. harms, oh ono chri! blossom at last.

Even at the dead time of the night, oh
REFRAIN: ono chri, 14. O MARY, YE’S BE CLAD IN SILK
Ay Tirana retírate a España They broke my bower, and flew my Scottish
Ay Tirana huye los rigores, Knight, oh ono chri, O Mary, ye’s be clad in silk,
Ay Triana de la Convención! With ae lock of his jet black hair, oh And diamonds in your hair,
Sí, sí, Tiranilla ono chri, Gin ye’ll consent to be my bride
Sí, sí picarilla I’ll tye my heart for ever mair, oh ono Nor think on Arthur mair.
Porque si te agaran, chri! Oh, wha wad wear a silken gown,
Porque si te pillan, Nae fly‐tongued youth, or flattering Wi’ tears blinding their ee,
Pondrán tu cabeza en la guillotina. swain, oh ono chri, Before I’ll break my true love’s heart,

La tirana que de amor muere Shall e’er untie this knot again, oh ono I’ll lay me down and die.
No llame muerte al morir, chri, For I have pledg’d my virgin troth,
Que es morir por quien se adora Thine still, dear youth, that heart shall Brave Arthur’s fate to share,
El más dichoso vivir. be, oh ono chri, And he has gi’en to me his heart
Nor pant for aught save heaven and Wi’ a’ its virtues rare.
REFRAIN thee, oh ono chri! The mind whose every wish is pure,

Far dearer is to me,
Grande pena es el morir,
12. RED GLEAMS THE SUN ON YON And e’er I’m forced to break my faith,
Pero yo no la sintiera,
HILL TAP Scottish I’ll lay me down and die.
Pues quien vive como yo,
Red gleams the sun on yon hill tap, So trust me when I swear to thee,
De alegría le sirviera.
The dew sits on the gowan; By a’ that is on high,
REFRAIN Deep murmurs thro’ her glens the Thoug, ye had a’ this warld’s gear,
spey, My heart ye couldna buy;
9. NO.23 CANZONETTA VENEZIANA Around Kinrara rowan. For langest life can ne’er repay,
DA BRAVA CATINA Where art thou, fairest, kindest lass? The love he bears to me;
Da brava Catina, mostréve bonina, Alas! wert thou but near me, And e’er I’m forced to break my troth,
Mostréve pietosa, cortese con mi. Thy gentle soul, thy melting eye, I’ll lay me down and die.
Un baso dimando, nol xè un Would ever, ever cheer me.
contrabando, The lavr’ock sings among the clouds,
no xè una gran cosa, diséme de sì. The lambs they sport so cheery, SONGS OF VARIOUS NATIONALITIES
And I sit weeping by the birk, WoO158C
O where art thou, my dearie? for solo voice, violin, violoncello and
BRITISH SONGS WoO158B COMPLETE Aft may I meet the morning dew, piano
for solo voice, violin, violoncello and Lang greet till I be weary,
piano Thou canna, winna, gentle maid, 15. WHEN MY HERO IN COURT
Thou canna be my dearie. APPEARS
10. ADIEU, MY LOV’D HARP Irish from The Beggar’s Opera
Adieu my lov’d harp, for no more shall 13. ERIN! O ERIN! When my Hero in court appears,
the vale, Like the bright lamp that lay on And stands arraign’d for his life;
Reecho thy notes as they float on the Kildare’s holly fane, Then think of poor Polly’s tears;
gale; And burn’d thro’long ages of darkness For ah! Poor Polly’s his wife.
No more melting pity shall sigh o’er and storm, Like the sailor he holds up his hand,
thy String; Is the heart that sorrows have frow’d Distrest on the dashing wave.
Or love to thy tremblings so tenderly on in vain, To die a dry death at land
sing. Whose spirit outlives them, unfading Is a bad a wat’ry grave:
When battle’s fell strife launch’d its and warm. And alas, poor Polly!
thunders afar, Erin, O Erin, thus bright thro’ the tears Alack and a‐well a day!
And valour’s dark brow wore the Of a long night of bondage thy spirit Before I was in love,
honours of war; appears. Oh, ev’ry month was May.
’Twas thou breath’d the fame of the The nations have fallen, and thou still
hero around, art young, 16. AIR DE COLIN
And young emulation was wak’d by Thy sun is but rising, when others are Non, non, Colette n’est point
the sound. set; trompeuse,
Ye daughters of Erin soon comes the And tho’ slav’ry’s cloud o’er thy Elle m’a promis sa foi.
sad day, morning hath hung, Peut – elle être l’amoureuse
When over the turf where I sleep ye The full noon of freedom shall beam D’un autre berger que moi?
shall say: round thee yet. Jean Baptiste Rousseau
“Oh! Still is the song we repaid with a Erin, O Erin, tho’ long in the shade, from Le devin du village
tear, Thy star will shine out when the
And silent the string that delighted the proudest shall fade.
ear.” Unchill’d by the rain, and unwak’d by
118

17.MARK YONDER POMP OF COSTLY Ambition would disown 19. FROM THEE, ELIZA, I MUST GO

FASHION Scottish The world’s imperial crown, Scottish
Mark yonder pomp of costly fashion, Ev’n av’rice would deny Trio
Round the wealthy titled bride: His worshipp’d deity, From thee, Eliza, I must go,
But when compar’d with real passion, And feel thro’every vein love’s And from my native shore;
Poor is all that princely pride. raptures roll. The cruel fates between us throw
What are the showy treasures? A boundless ocean’s roar.
What are the noisy pleasures? 18. BONNIE WEE THING Scottish But boundless oceans, roaring wide,
The gay, gaudy glare of vanity and art: Bonnie wee thing, cannie wee thing, Between my love and me,
The polish’d jewel’s blaze, Lovely wee thing, was thou mine! They never, never can divide
May draw the wond’ring gaze, I wad wear thee in my bosom, My heart and soul from thee.
And courtly grandeur bright Least my jewel I should tine. Farewell, farewell Eliza dear
The fancy may delight, Wishfully I look and languish The maid that I adore!
But never, never can come near the In that bonnie face of thine; A boding voice is in mine ear,
heart. And my heart it stounds wi’anguish We part to meet no more!
But, did you see my dearest Phillis Lest my wee thing be na mine! But the last throb that leaves my heart,
In simplicity’s array, Wit and grace and love and beauty, While Death stands victor by,
Lovely as yon sweet opening flowers is, In ae constellation shine! That throb, Eliza, is thy part,
Shrinking from the gaze of day: To adore thee is my duty, And thine that latest sigh!
O then the heart alarming, Goddess o’this soul o’mine!
And all resistless charming, Bonnie wee thing, etc. Robert Burns (1759‐1796)
In love’s delightful fetters
She chains the willing soul!

119

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and had he delayed his departure by even a few days he subsidise his meagre income. Beethoven, like most

thirty‐nine – this time there was no social gulf between friends Franz Wegeler and Karl Amenda. Neither were

Testament suggest that Beethoven also had considerable declaring it to be unplayable, never performed the

from Prince Esterházy to provide a mass for performance appeared in the programme meant that the symphony

Presumably he was able to watch him closely for cues in enthusiasm for his music, albeit fuelled by popular

not suffer from syphilis (a common conjecture as a III. THE SYMPHONIES

drums are banished although the horns make a introducing heroic fanfares. The march is interrupted by

introductory section, the longest of all the symphonies, among the symphonies, the so‐called minuets of the first

A completely different, meditatively introspective one of these, and he has a very special relationship with

SONATA NO.10 IN G MAJOR, OP.96 characterized by its sforzando accented upbeats. The

them as inferior, he would most certainly not have been “I undersigned, confirm herewith that I transferred Mr.

The Op.53 Sonata in C major, the “Waldstein”, begun in produced at Beethoven’s convenience. However it did

undiminished, not preventing him from holding the The poet and playwright, Georg Treitschke was brought

grow beyond its true ceremonial purpose and wished, as in Christ's life, in that incarnation, crucifixion, death,

die ferne Geliebte” as issuing directly from Beethoven’s of the first song returning in the same key in the last and

CD62 Der Fleiß verscheucht die Sorgen. JAQUINO

JAQUINO SECOND SCENE Durch Eintracht nur der Herzen

ROCCO JAQUINO Stolz und übermut und Rache

ROCCO MARZELLINE MARZELLINE

willkürlicher Gewalt enthalten. Er reist PIZARRO ROCCO

MARZELLINE 21. MARZELLINE und süßen Trost dir bringen!

LEONORE ROCCO LEONORE

ACT III LEONORE LEONORE

ROCCO LEONORE FLORESTAN

PIZARRO LEONORE PIZARRO

FLORESTAN 13. FLORESTAN ROCCO

FLORESTAN FLORESTAN, MARZELLINE, JAQUINO, CD64

MARZELLINE JAQUINO RECITATIVE

ROCCO ROCCO ROCCO

ROCCO ROCCO für hohen Lohn kann Liebe

Ein festes Band mit In seinem Herzen wühlen, o Wonne, PIZARRO

ROCCO Der Gouverneut kommt um diese Zeit was er zur Antwort mir gab?

Werke schreiten, du mußt helfen, MARZELLINE Angst rinnt durch meine Glieder,

3. NO.12 MELODRAMA AND DUET ROCCO FLORESTAN

LEONORE ROCCO LEONORE

ROCCO ROCCO FLORESTAN

Tyrannenstrenge sei mir fern. ROCCO LEONORE

14. NO.6 CHORUS Von Sohn auf Enkel im Herzen hegen 3. NO, NON TURBARTI

BOTH Mutter, Mutter, Schmäherei! 9. SOLL EIN SCHUH NICHT DRÜCKEN

Grabes Hauch mir an die Wange. 10. NO.2 RECITATIVE 2. NO.2 REZITATIV

VIENNA In meinen Mauern Die Unschuld als Chor,

per tanto soffrire; Che nel sen della mia bella Ah, non ritorno mai,

Und uns’re Weiber schön; Ach sieh’, wie Bangigkeit, wie JESUS

NO.6 RECITATIVE, TERZET AND gerechter Zorn und Wut. Auf! Ergreifet den Verräter,

CD76 Halben Wegs entgegenkäme, Küßte wohl ihn.

Die du so gern in heilgen Nächten 11. ICH DENKE DEIN WoO74 16. DIE LAUTE KLAGE WoO.135

19. SEHNSUCHT WoO146 In Grönland freuten sie sich sehr, 5 DER ZUFRIEDENE OP.75 NR.6

Sì, sì, mi sembra un dì! Pour moi sans appas. Der die Palme der Vergeltung trägt,

Wohl blühet in lieblicher, sanfter 24. SO ODER SO WoO148 Gleich für die Freiheit geben,

Herz, mein Herz, was soll das geben? Der mir das Herz zerreißt. Merkenstein! Merkenstein!

9. SEHNSUCHT, 4 SETTINGS WoO134 Was hat man dir, du armes Kind, brach nicht die Furcht am nahen Grab,

Weit bin ich von dir geschieden, Hin zu dir von jenen Hügeln Einst, o Wunder! entblüht auf meinem

6. DER JÜNGLING IN DER FREMDE Herr! Meine Burg, mein Fels, mein Mich täglich tun nach deinem

18.WONNE DER WEHMUT OP.83 NO.1 21. FREUDVOLL UND LEIDVOLL OP.84 9. GLAUBE UND HOFFE, WOO 174

21. BESTER MAGISTRAT, IHR FRIERT, 35. ICH KÜSSE SIE, WoO169 49. ABSCHIEDSGESANG WoO102

Screams chorus to thy minstrelsy? The beldame tell her tale: Had it e’er kiss’d the rose on the cheek

Come summer, come winter, in you Ev’ning for lover’s soft measures, While O’Donnel is poor shall

And fast by the forelock catch old 68. NO.8 NORAH, THE WITCH OF Read we then your story

Cross words and uncivil was on fire That worldly dame is on the watch

and worn; Tell this tale, my dear honey, and But thy Mary will cheer.

6. NO.12 ENGLISH BULLS Alas! Cried young Dermot, ’tis only William Smyth (1765‐1849)

And men deceive us when they swear The night is dark, the waters deep; Bloom non more, ye violets, near her,

Tho’ hope never comes with the And finer enchantment be waked from What bliss, to me my Patrick cries,